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THE BEN GREET SHAKESPEARE

FOR YOUNG READERS AND AMATEUR PLAYERS

TOUCHSTONE
"77/ rhyme you so eight years together "

OO^Si

i\ I J^

CC1.A314333

A FEW GENERAL RULES OR CUSTOMS
OF ACTING

The letters R and L indicate the position of
players on the stage facing the audience.
Rlj Ll are the entrances nearest the front.
Go up means from the audience; go down
is toward the audience. R C is the right
side of the centre, — and so forth.

When the characters enter, the person speaking
generally comes second.

Do not huddle together; do not stand in lines;
and do not get in such angles that you cannot
be seen by the sides of an audience.

Stand still — keep the leg nearest the audience
back, gesticulate seldom and with the hand
farthest from the audience. Do not point to
your chest or heart when you say 7, my and
mine J nor to your neighbor when saying thou,
thy, and thine, unless absolutely necessary.

Try to reverse the usual acting of the present
day and eliminate the personal pronoun

vi RULES OR CUSTOMS OF ACTING

as far as possible (Shakespeare does it all the
time). Occasionally the pointing gesture is
necessary — but seldom.

Do not try to say more than six words, or at
most eight, in one breath. Careful punct-
uation and accent are harmonious and neces-
sary. Whatever you do, sound the last
two or three words of the Kne or sentence:
dropping the voice is the worst fault of our
best actors. Do not speak to your audience
or at your audience, but with your fellow
actors, remembering, of course, that you have
invisible listeners, and that the last man in
the house wants to hear and see.

Do not imitate our star actors. Try to be
natural, spontaneous, and original. At the
same time, keep control of yourself and your
emotions. To appear to be, and not really
to be the character you are acting, is, perhaps,
the perfection of the art.

Don't fidget your hands and feet — forget
them, and let them be where the good
Lord has placed them.

These few hints will be useful for all plays.
I shall give more intimate notes as we go along.

RULES OR CUSTOMS OF ACTING vii

The diagrams show the positions, entrances,
etc.

The plays are cut to the length of an ordinary
performance. Lines can be restored or further
cut, if desirable, always remembering that a
play given on what we will always call the
Shakespeare stage should be given more rapidly,
with no pauses between scenes or between en-
trances and exits, and with possibly only one
intermission (of perhaps five minutes), as near
as possible halfway through; and most of the
plays can be acted in their entirety in about
three hours, some of them in much less time —
one or two of them take much more. If we can-
not quite reduce ours to the happy medium of
two hours, we must get as near it as possible. It
is better to send your friends away wanting more,
than to have them go home yawning 1 This is a
word to the wise.

As to stage setting, it can be done in lots
of ways: with scenery, or with screens, or
curtains, or in the open air. Strange as it
may appear, the plays of Shakespeare are
equally effective whichever way we may choose
to give them. I imagine most good plays will
bear that test.

viii RULES OR CUSTOMS OF ACTING

Remember that Shakespeare is the most
perfect English. Do not imitate some of
those professors, especially teachers of what
is called Elocution and Expression, if by any
chance they happen to pronounce it in up-to-
date American or cockney British, or tell you
it was conceived in any other brogue, accent, or
pronunciation than the purest of pure English.
There are a few mistakes in his plays, and some
printer's errors, about which volumes have
been written. Study the humanity, the heart,
the English of Shakespeare, as of the Bible —
those two wonderful Books of the same gener-
ation — the one splendidly revised and per-
fected by many scholars, the other produced
in a state of nature and yet almost perfect —
study them, my young friends, inwardly digest
your Bible and outwardly demonstrate your
Shakespeare: you will then start in life pretty
well equipped.

AS YOU LIKE IT

CHARACTERS IN THE PLAY

Duke, living in banishment. Sir Oliver Martext, a vicar ^
Frederick, his brother, and Corin, ) shepherds.

usurper oj his dominions. Silvius, )
Amiens \ lords attending on William, a country fellow, in
Jaques,! f the banished duke, love with Audrey.
Le Beau, a courtier attending A person representing Hymen.

upon Frederick.
Charles, wrestler to Frederick. Rosalind, daughter to the
Oliver, \ r • j? banished duke.

jAQUESi \ ^T^//Z ' Celia, daughter to Frederick,
Orlando, ) ''^'^ o,e Boys, ^^tseby., a shepherdess.
Adam, \ servants to Oliver Audrey, a country wench.
Dennis, f Lords, pages, and attendants^

Touchstone, a clown. etc.

''^ Means "pause."

3or4feet

Et3

acHfeet

-<Ci/:

C Sack drop

vpRC

L.C.

R.C

1/.C.

r^^lr^/^^~^^-^,^r^,--^/-^/-^/^/-^/^/-^/^^^/^

L.2^

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2?., Right. 22. C, Right Centre. C, Centre. L. C, Left

Centre. L., Left.

Audience

I am presuming that the stage is a small one.
These are general directions for all stages: at the
back is the drop; about two or three feet from the
wall we must avoid, as much as possible, having
people walk behind, as it shakes the cloth. There-
fore the farther forward the drop is, the better.

Three '' wings ^' each side, three or four feet apart,
are enough for any scene, and if there is any stage
space to spare let it be from the footlights to the
first wing. Try and have a stage cloth of light
brown, an idefinite colour, which can remain all
through the play. A few footlights and one or
two "borders^' are necessary. '' Borders'' are the
overhead lights.

If the play is in the open air and on an natural
stage much the same positions can be used. If it

ACT I

Scene I. Orchard of Oliver's house.

Enter Orlando and Adam from L i, or they can
he discovered.

Orl. As I remember, Adam, it was upon this
fashion bequeathed me by will, but poor a
thousand crowns, and, as thou say'st, charged
my brother, on his blessing, to breed me well:
and there begins my sadness. My brother
Jaques he keeps at school, and report speaks
goldenly of his profit: for my part, he keeps me
rustically at home, or, to speak more properly,
stays me here at home unkept: for call you that
keeping for a gentleman of my birth, that differs
not from the stalling of an ox? His horses are
bred better. This is it, Adam, that grieves me;
I will no longer endure it, though yet I know
no wise remedy how to avoid it.

A dam. Yonder comes my master your brother.

is on a built stage the exits and entrances must all
be from one rights one left, and possibly one
centre entrance, and regulated accordingly. If an
Elizabethan setting, the position and business are
same as open air stage.

First Scene — An Orchard,

The scene can be a plain wood, drop or front
scene with or without a little house piece L, If
you use house piece have a practicable door. In
open air plays the scene is not changed. Pieces
of rustic seats or stumps of trees are scattered
around RC,LC, and up stage R. This scene and
the next two scenes are often omitted in open air;
play beginning with the banished Duke's entrance.

It is allowable to cut long speeches, as long as
their meaning is not lost. Also a very slight alter-
ation of scenes is justifiable where time and space
are limited. This rule stands for all the plays.

Noblemen should always be followed as far as
possible by one or two attendants. Royal per-
sonages by more.

^Puts his right hand on Orlando^ s left shoulder,
then both hands.

^Puts his right hand on Oliver^ s chest and makes
him kneel.

AS YOU LIKE IT

Orl. Go apart, Adam, and thou shalt hear
how he will shake me up.

Enter Oliver with Dennis from R i,

OH, Now, sir! what make you here?

OrL Nothing: I am not taught to make any-
thing.

Oli, What mar you then, sir?

Orl. Marry, sir, I am helping you to mar
that which God made, a poor unworthy brother
of yours, with idleness.

[Dennis goes ojf R.
Dennis, Oliver, Orlando, Adam.

Oli. Know you where you are, sir?

Orl. O, sir, very well: here in your orchard.

Oli. Know you before whom, sir?

Orl. Ay, better than him I am before knows
me.

Oli. What, boy!^ [Strikes at him.

Orl. Come, come, elder brother, you are too
young in this.^ [Takes him by the throat.

Oli. Wilt thou lay hands on me, villain?

Orl. I am no villain; I am the youngest son
of Sir Rowland de Boys; he was my father, and
he is thrice a villain that says such a father
begot villains.

Orlando

^Going to hack of them as if to intercede.
^Lets him go. Oliver rises ivith gesture of dis-
gust, brushes himself down, etc.
^Goes to door of cottage L.
^Going toward door.
^Goes to R i; turns toward C R.

AS YOU LIKE IT

Adam. Sweet masters, be patient^ : for your
father's remembrance, be at accord.

OH. Let me go, I say.

Orl. I will not, till I please: you shall hear
me.^ My father charg'd you in his will to
give me good education: therefore allow me such
exercises as may become a gentleman, or give
me the poor allottery my father left me by tes-
tament; with that I will go buy my fortunes.

Oli. And what wilt thou do, beg? when that
is spent? Well, sir, get you in: I will not long
be troubled with you; you shall have some part
of your will: I pray you, leave me.

Orl. I will no further offend you than be-
comes me for my good.^

Oli. Get you with him, you old dog.

Adam (who remains C). Is *'old dog" my
reward? Most true, I have lost my teeth in
your service.'* God be with my old master!
He would not have spoke such a word.

[Exeunt Orlando and Adam, affectionately, L i,

Oli.^ Is it even so? begin you to grow upon
me? I will physic your rankness, and yet give
no thousand crowns neither. (Turns and calls.)
Holla, Dennis!

Notes about gesture, etc. — When there are no
movement directions, it is always best for the per-
former to keep still. Use very few gestures, so
that those that are necessary do not lose their effect.
Do not emphasize pronouns, and never point to
your chest to indicate a personal pronoun.

Notes about ^^make up^' — Use very little; what-
ever you do, don't paint your lips a dark red!
A very little red — the natural colour — should be
used. Do not blue or gray your eyelids or you will
look like a parrot. Be careful of blue or green
lights; they turn the red or brown make-up black.

AS YOU LIKE IT

Enter Dennis R i.

Den, Calls your worship?

Oli. Was not Charles, the Duke^s wrestler,
here to speak with me?

Den. So please you, he is here at the door and
importunes access to you.

[Exit Dennis L i,

Oli. Call him in. 'T will be a good way;
and to-morrow the wrestling is.

Enter Charles R j.

Cha, R. Good morrow to your worship.

Oli. L. Good Monsieur Charles, what's the
new news at the new court?

Cha. There's no news at the court, sir, but
the old news: that is, the old Duke is banish'd
by his younger brother the new Duke; and three
or four loving lords have put themselves into
voluntary exile with him, whose lands and
revenues enrich the new Duke; therefore he
gives them good leave to wander.

OIL Can you tell if Rosalind, the Duke's
daughter, be banished with her father?

Cha. O, no; for the Duke's daughter, her

AS YOU LIKE IT

cousin, so loves her, that she would have followed
her exile, or have died to stay behind her.

Oli, Where will the old Duke live?

Cha. They say he is already in the forest of
Arden, and a many merry men with him; and
there they live like the old Robin Hood of Eng-
land; they say many young gentlemen flock
to him every day, and fleet the time carelessly,
as they did in the golden world.

Oli. {Coming to C.) What, you wrestle to-
morrow before the new Duke?

Cha. Marry, do I, sir; and I came to acquaint
you with a matter. I am given, sir, secretly
to understand that your younger brother Or-
lando hath a disposition to come in disguis'd
against me to try a fall. Your brother is but
young and tender; and, for your love, I would
be loath to foil him, as I must, for my own
honour, if he come in.

Oli. Charles, I thank thee for thy love to me.
I had myself notice of my brother's purpose
herein, and have laboured to dissuade him from
it; but he is resolute. And thou wert best look
to 't; for if thou dost him any sHght disgrace
he will practise against thee by poison, entrap

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Have the seat placed just behind the front drop;
the sundial L C is ornamental, hut not essential.

A seat for Duke Frederick on platform, or,
if no platform, up stage R C.

The platform is not necessary; it makes the
scene more important, and it can he used in the
forest scenes, covered with green or hrown haize
or hurlap.

AS YOU LIKE IT

thee by some treacherous device and never
leave thee till he hath ta'en thy life by some
indirect means or other; for, I assure thee, and
almost with tears I speak it, there is not one so
young and so villainous this day living. I speak
but brotherly of him; but should I anatomize
him to thee as he is, I must blush and weep
and thou must look pale and wonder.

Cha. I am heartily glad I came hither to you.
If he come to-morrow, I'll give him his payment.
If ever he go alone again, I'll never wrestle for
prize more, and so God keep your worship 1

Oli. Farewell, good Charles. {Charles exits
R I.] Now will I stir this gamester: I hope I
shall see an end of him; for my soul, yet I know
not why, hates nothing more than he. Yet he's
gentle, never school'd and yet learned, full of
noble device, and indeed so much in the heart
of the world, and especially of my own people,
who best know him, that I am altogether mis-
prised: but it shall not be so long; this wrestler
shall clear all: nothing remains but that I
kindle the boy thither; which now I'll go
about. [Exit R i.

^7/" there is a terrace they come from R and down
steps. Rosalind comes first and Celia follows;
they go L C.

Note A . — This is a splendid lesson in pro-
nouns. As a general law do not emphasize the
personal pronoun or make any gesture of pointing
to yourself or others. It is bad manners, bad
grammar, and bad art. This one speech is written
as the exception to the rule.

"^They walk about a little LC to L and then back
to C. Then sit R C.

AS YOU LIKE IT

Scene II. Lawn before the Duke's palace.
Enter Celia and Rosalind, R C}

Cel. I pray thee, Rosalind, sweet my coz,
be merry.

Ros. Dear Celia, I show more mirth than
I am mistress of; and would you yet I were
merrier? Unless you could teach me to forget
a banished father, you must not learn me how
to remember any extraordinary pleasure. {A )

Cel. Herein I see thou lov'st me not with the
full weight that I love thee. If my uncle, thy
banished father, had banished thy uncle, the
Duke my father, so thou had'st been still with
me, I could have taught my love to take thy
father for mine.

Ros. Well, I will forget the condition of my
estate, to rejoice in yours.^

Cel. You know my father hath no child
but I, nor none is Hke to have : and, truly, when
he dies, thou shalt be his heir; for what he hath
taken away from thy father perforce, I will
render thee again in affection; by mine honour,
I will. Therefore, my sweet Rose, my dear
Rose, be merry.

Note A. — In standing upon the stage always
let the foot next to the audience he drawn hack;
also gesticulate when necessary with the hand
farthest from the audience. But donH gesticulate
at all unless necessary.

AS YOU LIKE IT

Ros. From henceforth I will, coz, and devise
sports. (Crosses R.) What think you of falling
in love? (The rest can he spoken if desirable)

Cel. Here comes Monsieur Le Beau.

Enter Le Beau and Touchstone from R C
and down steps and bow elaborately, Rosalind
R, Celia R C seatedy Le Beau C, Touchstone
LC,

Cel. Bon jour, Monsieur Le Beau: what's the
news ?

Le Beau. Fair princess, you have lost much
good sport. (See note A.)

Cel. Sport! of what colour?

Le Beau. What colour, madam! how shall
I answer you?

Ros. As wit and fortune will.

Touch. Or as the Destinies decree.

Le Beau. You amaze me, ladies: I would
have told you of good wrestling, which you have
lost the sight of.

Ros. Yet tell us the manner of the wrestling.

(Celia sits first — then Rosalind.)

^Celia sighs and sits L of seat R C.
^Rosalind sits R of seat R C.

AS YOU LIKE IT

Le Beau. There comes an old man and his
three sons.-^

The eldest of the three wrestled with Charles,
the Duke's wrestler; which Charles in a mo-
ment threw him and broke three of his ribs,
so he served the second, and so the third. ^
Yonder they He; the poor old man, their
father, making such pitiful dole over them
that all the beholders take his part with
weeping.

Ros. Alas!

Touch. L. But what is the sport, monsieur,
that the ladies have lost?

Le Beau. C. Why, this that I speak of.

Touch. Thus men may grow wiser every day :
it is the first time that ever I heard breaking of
ribs was sport for ladies.

Cel. Or I, I promise thee.

Ros. Shall we see this wrestling, cousin?

Le Beau. You must, if you stay here; for
here is the place appointed for the wrestling,
and they are ready to perform it. (Crosses to
R C.)

Cel. Yonder, sure, they are coming: let us
now stay and see it.

^Trumpets heard of up L. Celia and Rosalind
rise and curtsey to the Duke.

^From L terrace or L 2,, then come down to C,
Orlando follows and goes L, with Dennis and other
attendants, taking off jacket and shoes. Charles
goes down R. The crowd disperse L side; two
female attendants go down behind seat R; Duke
goes up to seat on terrace C or up C,

^Crosses to Orlando.

^Orlando comes down L C. Ros. R, Celia
R C, 0. LC, Le Beau goes up and converses with
Duke,

AS YOU LIKE IT

Flourish} Enter Duke Frederick, Lords, Or-
lando, Charles, and Attendants.^

Duke F, C. Come on: since the youth will
not be entreated, his own peril on his forward-
ness.

Ros. R. Is yonder the man?

Le Beau. R C, Even he, madam.

Cel. R C, Alas, he is too young! yet he looks
successfully.

Duke F. C. How now, daughter and cousin!
are you crept hither to see the wrestling?

Ros. R. Ay, my Hege, so please you give us
leave.

Duke F. You will take Httle deHght in it,
I can tell you; there is such odds in the man.
Speak to him, ladies; see if you can move
him.

Cel. R C. Call him hither, good Monsieur
Le Beau.

Duke F. Do so: I'll not be by.

Le Beau.^ (calls.) Monsieur the challenger,^
the princess calls for you.

Orl. L C. 1 attend them with all respect and
duty.

AS YOU LIKE IT

Ros. R C. Young man, have you challeng'd
Charles the wrestler?

Orl. L C. No, fair princess; he is the general
challenger: I come but in, as others do, to try
with him the strength of my youth.

Cel. R C. Young gentleman, your spirits
are too bold for your years. We pray you, for
your own sake, to embrace your own safety
and give over this attempt.

Ros. R. Do, young sir; your reputation shall
not therefore be misprised: we will make it our
suit to the Duke that the wrestling might not
go forward.

Orl. L C. 1 beseech you, punish me not
with your hard thoughts; wherein I confess me
much guilty, to deny so fair and excellent ladies
any thing. But let your fair eyes and gentle
wishes go with me to my trial: wherein if I be
foil'd, there is but one sham'd that was never
gracious; if kill'd, but one dead that is willing
to be so: I shall do my friends no wrong, for
I have none to lament me; the world no injury,
for in it I have nothing; only in the world I fill
up a place, which may be better supplied when
I have made it empty.

'^Slight curtsey,

^Slight curtsey.

When the Duke speaks Rosalind and Celia
resume their places on the seat R.

A : Charles is up R and has in the meantime taken
oj^ jacket, etc. If there are extras, let four soldiers
come down with pikes or halberds, and stand each
corner of stage as if to mark of a "ring." Trum-
pets sound. There are three "rounds" of the
wrestling. In the first two Orlando seems to get
the worst of it. Celia and Rosalind speak after
each round, so giving a short pause between. The
crowd naturally get more excited; when Charles is
thrown they break through, which causes the
soldiers to step fonvard and surround Charles,
who is thrown at the feet of the princesses,

^ After first round.

^ After second round.

AS YOU LIKE IT

Ros.^ R. The little strength that I have, I
would it it were with you.

Cel.^ R C. And mine, to eke out hers.

Cha. R U. Come, where is this young gal-
lant that is so desirous to lie with his mother
earth?

Orl. L U, Ready, sir; but his will hath in it
a more modest working.

Duke F. C. You shall try but one fall.

Cha. No, I warrant your grace, you shall not
entreat him to a second, that have so mightily
persuaded him from a first.

Orl. An you mean to mock me after, you
should not have mock'd me before : but come
your ways. [They wrestle: A —

Ros.^ Now Hercules be thy speed, young
man!

Cel. I would I were invisible, to catch the
strong feUow by the leg. [They wrestle again.

Ros.^ 0 excellent young man!

Cel. If I had a thunderbolt in mine eye,
I can tell who should down.

[Wrestle the third time.
[Shouts. Charles is thrown.
Duke F. (rising.) No more, no more.

^Goes forward kneels over Charles.

^Pause, whilst Charles is carried by soldiers
followed off L by crowd.

^Goes up steps to C off L U. Orlando goes up
to finish his dressing, assisted by Dennis or some
other young man friend. The princesses rise.

^Rosalind motions the waiting woman to go off
R 2. Orlando J who is now fully dressed, goes down
to L C.

AS YOU LIKE IT

Orl, L C Yes, I beseech your grace: I am
not yet well breath'd.

Duke F. How dost thou, Charles? .

Le Beau} He cannot speak, my lord.

Duke F, Bear him away.^ -^ What is thy
name, young man?

Orl. Orlando, my liege: the youngest son of
Sir Rowland de Boys.

Duke F. I would thou hadst been son to
some man else;
The world esteem'd thy father honourable.
But I did find him still mine enemy:
Thou shouldst have better pleas' d me with this

deed,
Hadst thou descended from another house.
But fare thee welP; thou art a gallant youth:
I would thou had'st told me of another father.
[Exeunt Duke Fred.j Le Beau, etc. up L,

Cel. R C. Gentle cousin,

Let us go thank him and encourage him:
My father's rough and envious disposition
Sticks me at heart. Sir ,^ you have well deserv'd :
If you do keep your promises in love
But justly, as you have exceeded all promise,
Your mistress shall be happy.

^Orlando kneels.

^Celia touches her on right arm; Orlando rises,
curtsey.

^Rosalind stops a moment as if a little shy, then
goes a little to C.

^Orlando remains R C till they go off,

^Both curtsey again as they go off R i.

Note. — The curtsey or courtesy, was not a low
one, like the later French curtsey, or court bow.
It was a slight inclination of the head, the knees
just bent. Shakespeare and the writers of his
time are very insistent on court manners and court
etiquette.

Observe the colons: they always seem to indicate
some movement or stage business.

^Orlando seems rooted to the ground, then goes
slightly to R, as if looking after them.

AS YOU LIKE IT

Ros. Gentleman.
[Crosses to C, giving him a chain from her neck.
Wear this for me/ one out of suits with fortune,
That could give more, but that her hand lacks

means.^
Shall we go, coz?

Cel. R C. Ay. Fare you well, fair gentle-
man.

Orl. Can I not say, I thank you? My better
parts
Are all thrown down, and that which here stands

up
Is but a quintain, a mere Hfeless block.

Ros, He calls us back^:
I'll ask him what he would. Did you call, sir?
Sir, you have wrestled well and overthrown
More than your enemies.
Cel. Will you go, coz? ^

Ros. Have with you. Fare you well.

[Exeunt Rosalind and Celia.^
Orl.^ I cannot speak to her, yet she urg'd
conference.
0 poor Orlando, thou art overthrown!
Or Charles or something weaker masters thee.
Re-enter Le Beau on platform L 3
31

^Pause, Orlando stops and turns R C; Le Beau
comes down C.

^ Moves to C.

^Le Beau goes quickly up the C steps.

^Le Beau makes a bow not too elaborate and
exits L 3. After his exit Orlando goes slowly to
Lj takes chain in his hand, sighs and exits.

Note. — It is customary for Celia to be slightly
shorter than Rosalind, although the Folio has Celia
the taller. Orlando, of course, refers to the Duke,
the banished Duke. Le Beau, naturally as a
courtier, mistakes his meaning. Hence the
seeming mistake. But Shakespeare seldom made
mistakes; they are mostly left to his commentators ^
and alas often to his players.

AS YOU LIKE IT

Le Beau, Good sir,^ I do in friendship counsel
you
To leave this place. Albeit you have deserv'd
High commendation, true applause and love,
Yet such is now the Duke's condition
That he misconstrues all that you have done.
The Duke is humorous : what he is indeed.
More suits you to conceive than I to speak of.
OrL I thank you, sir^: and, pray you, tell
me this:
Which of the two was daughter of the Duke
That here was at the wrestling?

Le Beau. Neither his daughter, if we judge
by manners;
But yet indeed the lesser is his daughter:
The other is daughter to the banish'd Duke.

Sir, fare you well:
Hereafter, in a better world than this,
I shall desire more love and knowledge of you.
OrL I rest much bounden to you: fare you
well. [Exit Le Beau.

Thus must I from the smoke into the smother;
From tyrant duke unto a tyrant brother^:
But heavenly Rosalind!^ {Looking at chain.)

[Exit L z

There need he no change of scene; merely a slight
pause about fifteen seconds. If music is used in
the play a few bars can be played — plaintively.

^Rosalind comes on R2, goes slightly to L as if
half looking after Orlando, then sighs as he has
sighed {without, of course, knowing it), and goes
to sundial down L C. Celia follows after short
pause, looks around and playfully watches Rosa-
lind, then comes down and throws her arms around
her. If there is no sundial let Rosalind cross to
R and throw herself on the seat; and Celia comes to
her there; then they both sit or they can stand —
as Duke comes on very quickly. The Duke^s
entrance and manner must strike a tragic note.

Note. — The value of a slight pause should not
be underestimated — but it is dangerous to indulge
in too much, especially in dialogue. It is useful
to make a slight interval between one person's
exit and another person's entrance, such as in
this case.

AS YOU LIKE IT

Enter Celia and Rosalind.^

Cel. Why, cousin! why, Rosalind! Cupid
have mercy! not a word?

Is it possible, on such a sudden, you should
fall into so strong a liking with old Sir Rowland's
youngest son?

Ros, The Duke my father lov'd his father
dearly.

Cel. Doth it therefore ensue that you should
love his son dearly? By this kind of chase, I
should hate him, for my father hated his father
dearly; yet I hate not Orlando.

Ros. No, faith, hate him not, for my sake.

CeL Why should I not? doth he not deserve
weU?

Ros. Let me love him for that, and do you
love him because I do. Look, here comes the
Duke.

Cel. With his eyes full of anger.

Enter Duke Frederick, with Lords, Lj and
comes down C.

Duke F. Mistress, dispatch you with your
safest haste
And get you from our court.

Note. — In all places where the lines are cut
it is, of course, optional to restore them. The pur-
pose of these hooks is to help students to an actual
representation. The question of time, etc., must
he left to personal circumstances. In this par-
ticular instance there is no reason why the Shake-
speare dialogue should not he given, hut at any rate
it must he spoken rapidly, not ^^ doled outJ^

^Rosalind goes up R to hack of seat weeping.

^Spoken somewhat timidly.

AS YOU LIKE IT

Ros. (quickly rising). Me, uncle?
Duke F, You, cousin;

Within these ten days if that thou be'st

found
So near our public court as twenty miles,
Thou diest for it. (Goes down slightly to L.)
Ros, (quickly to C), I do beseech your grace,
(kneels)
Let me the knowledge of my fault bear with me:

(Speech continued if desired.)
Duke F, Let it suffice thee that I trust thee

not.
Thou art thy father's daughter: there's

enough.^
Cel. Dear sovereign, hear me speak.

[Kneels C.
Duke F. Ay, Celia; we stay'd her for your
sake, (C to L.)
Else had she with her father rang'd along.

Cel. I did not then entreat to have her stay;
It was your pleasure and your own remorse^:
I was too young that time to value her;
But now I know her: if she be a traitor,
Why so am I; we still have slept together.
Rose at an instant, learn'd, play'd, eat together,

^Celia makes movement,

^Rises with great dignity.

^Duke goes up to steps, Celia crosses to R down.

^Pause ten seconds, then Celia goes to up C,
looking appealingly after Duke, Rosalind sinks
on seat R,

AS YOU LIKE IT

And wheresoe'er we went, like Juno's swans,
Still we went coupled and inseparable.
Duke F. She is too subtle for thee; and her
smoothness.
Her very silence and her patience
Speak to the people, and they pity her.
Thou art a fool: she robs thee of thy name;
And thou wilt show more bright and seem more

virtuous
When she is gone.^ Then open not thy lips:
Firm and irrevocable is my doom
Which I have pass'd upon her; she is banished.
Cel} Pronounce that sentence then on me,
my Hege:
I cannot Hve out of her company.
Duke F. You are a fool.^ You, niece, pro-
vide yourself:
If you outstay the time, upon mine honour,
And in the greatness of my word, you die.

[Exeunt Duke Frederick and Lords L j.

Cel} O my poor Rosalind, whither wilt thou

go?

Wilt thou change fathers? I will give thee mine.

I charge thee, be not thou more griev'd than I

am.

^Comes down to L of seat R,

^Kneels by her.

^Rises,

^Still seated.

Note b. — Do not alter this grammar; even if it
be doubtful, even incorrect, it is too expressive and
beautiful. These three lines give a general idea
of the accenting of iambic metre. The emphatic
words are so clearly defined. This rule should be
adopted in nearly all Shakespeare verse; we should
then escape the horrible, even false emphasis, so
usually adopted by our Shakespearian actors.

^Touchstone is heard singing and laughing of L,

AS YOU LIKE IT

Ros. I have more cause.

Cel. Thou hast not, cousin^;

Prithee, be cheerful: know'st thou not, the Duke
Hath banish'd me, his daughter?

Ros. That he hath not.

CeL No! hath not?^ Rosalind lacks then
the love
Which teacheth thee that thou and I am one:
Shall we be sunder'd ? shall we part, sweet girl?
No^: let my father seek another heir.
Therefore devise with me how we may fly,
Whither to go and what to bear with us;
For, by this heaven, now at our sorrows pale,
Say what thou canst, I'll go along with thee.

Ros.^ Why, whither shall we go?

CeL To seek my uncle in the forest of Arden.

Ros. Alas, what danger will it be to us,
Maids as we are, to travel forth so far!
Beauty provoketh thieves sooner than gold.

(Note h.)

Cel. I'll put myself in poor and mean attire
And with a kind of umber smirch my face;
The like do you; so shall we pass along
And never stir assailants.^

Ros, (rises). Were it not better,

'^The two women attendants should cross at
hack of stage casually, then listen; They form a
valuable pivot to the plot {see text) .

^Takes the stage to L, (a) then L C.

^Celia crosses to R C.

^Crossing laughingly to Celia.

^(b) Touchstone is still singing off L (pp).

^(c) She crosses here and goes up steps.

Note. — (a) The expression, '' taking the stage^^
which should be indulged in rarely, means cross-
ing with much freedom.

(b) Read the line as if but were
omitted; then get the word Al-ee-an-a — Celia-
Aliena.

(c) Do not let Rosalind speak these
lines; they are Celiacs. She is sacrificing her
birthright for love of her cousin. Whatever you do
donH indulge in the star system in school.

AS YOU LIKE IT

Because that I am more than common tall,
That^ I did suit me all points like a man?
A gallant curtle-axe upon my thigh, ^
A boar-spear in my hand; and — in my heart
Lie there what hidden woman's fear there will — ^
We'll have a swashing and a martial outside,
As many other mannish cowards have
That do outface it with their semblances.

Cel. R C What shall I call thee when thou
art a man?

Ros, L C. I'll have no worse a name than
Jove's own page;
And therefore look you call me Ganymede.^
But what will you be call'd?

Cel. Something that hath a reference to my
state;

No longer Celia, but Aliena^

Ros, But, cousin, what if we assay'd to steal
The clownish Fool out of your father's court?
Would he not be a comfort to our travel?

Cel. He'll go along o'er the wide world with
me;
Leave me alone to woo him. Let's away,
And get our jewels and our wealth together.
Devise the fittest time and safest way^

^On platform C.

Note. — In open air plays these first scenes~are
usually omitted. They can of course he given
either on the same stage — or by moving the
audience to a different part of the ground. This
is a clumsy thing to do; audiences are good-
natured j especially when their young friends — the
actors — are doing their best.

^If there is a change of scene this is the same cloth
as used for scene I. It is easier for stage purposes;
it brings the events closer together and does little
violence to the text. It leaves the last four acts
entirely in the forest.

^Orlando comes on first and calls; Adam comes
from cottage L I.

^Matter in parenthesis optional.

cT^.

AS YOU LIKE IT

To hide us from pursuit that will be made
After my flight.-^ Now go we in content
To liberty and not to banishment.

[Exeunt C,

Scene III.^ Before Oliver^ s house. Same
as scene I.

Enter Orlando^ and Adam, meeting,

Orl. R. Who's there?

Adam. L. What, my young master? 0
my gentle master !
O my sweet master ! O you memory
Of old Sir Rowland! why, what make you here?
Your praise is come too swiftly home before you.
Know you not, master, to some kind of men
Their graces serve them but as enemies?

Orl. R C. Why, what's the matter?

Adam. L C. 0 unhappy youth!
Come not within these doors; within this roof
The enemy of all your graces lives:
Your brother — ^ (no, no brother; yet the son —
Yet not the son, I will not call him son
Of him I was about to call his father ) —
Hath heard your praises, and this night he means

^Adam can have the satchel with the money as
he is expecting Orlando and like all thoughtful
people anticipates his action.

'^Kneels,

AS YOU LIKE IT

To burn the lodging where you use to lie
And you within it; if he fail of that,
He will have other means to cut you off.
This is no place; this house is but a butchery:
Abhor it, fear it, do not enter it.

Orl. Why, whither, Adam, wouldst thou have
me go?

Adam. No matter whither, so you come
not here.

Orl. What, wouldst thou have me go and
beg my food?
Or with a base and boisterous sword enforce
A thievish Hving on the common road?
This I must do, or know not what to do :
Yet this I will not do, do how I can;
I rather will subject me to the malice
Of a diverted blood and bloody brother.

Adam, But do not so. I have five hundred
crowns.
The thrifty hire I sav'd under your father.
Take that, and He that doth the ravens feed.
Yea, providently caters for the sparrow.
Be comfort to my age! Here is the gold^;
All this I give you.^ Let me be your servant:
Though I look old, yet I am strong and lusty;

"^Orlando lovingly lifts him up, if he lets him
kneel at all, which is doubtful.
{Special Notes on omitted lines.)

(a) All the lines omitted can of course he
spoken, hut these few strong words practically
cover the meaning and we must not prolong our
play hy beautiful word paintings.

(b) The few lines of Adam can always be
restored in a fairly complete representation and
can he written into the prompt hook. Shakespeare
himself played this part at Wilton, Salisbury, where
the play was written, in 1599. The Pembroke
family long possessed a letter describing some plays
given at Wilton at this time with the words ^'the
man Shakespeare is with us.^' Baconians read,
mark, learn!

AS YOU LIKE IT

For in my youth I never did apply
Hot and rebellious liquors in my blood,
Nor did not with unbashful forehead woo
The means of weakness and debility;
Therefore my age is as a lusty winter,
Frosty, but kindly^; let me go with you;
I'll do the service of a younger man
In all your business and necessities.

Orl. 0 good old man, how well in thee appears
The constant service of the antique world,
When service sweat for duty, not for meed!
Thou art not for the fashion of these times.
Where none will sweat but for promotion.
But come thy ways; we'll go along together,
And ere we have thy youthful wages spent.
We'll Hght upon some settled low content.

Adam. Master, go on, and I will follow thee.
To the last gasp, with truth and loyalty.

{Exeunt.

Notes. — This scene can open with singing.
The glee, ^^ Forester sound the cheerful hornj'^ is
appropriate. There are many others.

fcn' rancfeR.C.

A beickcloth gr backaround j. <

cf - trees.

■{%-\r

K.t.

Tree

Shrv)

5hrvt)bery

C£ Shrubbery

E^trajiceL.>

^^ RC

St««l

1V«o

■■ncw^ n rv^^ir>„

'^^^ l/-\/-vl

L.^

Mreic.

Audience

T/fe diagram gives the most convenient setting
for these scenes, either on the boards or in the open
air. In the Theatre the play can he divided into
acts as written. In the Folio — the best author-
ity— no scenes are indicated.

Rustic stools or logs are about the stage. It is
one of the meeting places of the Duke and his
m£n.

ACT II

Scene I. The forest of Arden.

Enter Duke senior, Amiens and two or three
Lords, like foresters.

Duke S. Now, my co-mates and brothers

in exile.
Hath not old custom made this life more sweet
Than that of painted pomp? Are not these

woods
More free from peril than the envious court?
Here feel we but the penalty of Adam,
The season's difference, as the icy fang
And churlish chiding of the winter's wind.
Which, when it bites and blows upon my body,
Even till I shrink with cold, I smile and say
This is no flattery: these are counsellors
That feelingly persuade me what I am.
Sweet are the uses of adversity,
Which, like the toad, ugly and venomous,

Musicians should be hidden in the open air
either side of stage.

For instrumental accompaniment the ^^ Pastoral
Symphony '' is fine. Avoid, if possible, using
ultra-modern or ragtime melodies.

The Duke can be discovered C, Amiens L;
Lord R; others are grouped, naturally, mostly in
front of the Duke, so that he would not address his
speech to the back cloth, or to any cattle or poultry
that may be around in the wood — meadow,
park or garden. This is a very important point
in acting. Have your characters well and nat-
urally placed.

^Be careful not to give these words to any but
Amiens or one of the Lords. It is not the
Duke^s in the Folio, and the Folio rarely errs.

^Pronounced Ja-quez.

^Duke laughs and sits under tree R C.

Note a. — Never allow Jaques to speak this
speech. It came to be a custom with stars to do
this either from economy, ignorance, or vanity.
No self-respecting student or manager would stand
for it nowadays.

AS YOU LIKE IT

Wears yet a precious jewel in his head;
And this our life exempt from public haunt
Finds tongues in trees, books in the running

brooks,
Sermons in stones and good in every thing.
Ami.^ I would not change it. Happy is your

grace.
That can translate the stubbornness of fortune
Into so quiet and so sweet a style.
Duke S. Come, shall we go and kill us

venison?
And yet it irks me the poor dappled fools,
Being native burghers of this desert city.
Should in their own confines with forked heads
Have their round haunches gor'd.
First Lord. Indeed, my lord, (a)
The melancholy Jaques^ grieves at that.
And, in that kind, swears you do more usurp
Than doth your brother that hath banish'd you.^
To-day my Lord of Amiens and myself
Did steal behind him as he lay along
Under an oak whose antique root peeps out
Upon the brook that brawls along this wood:
To the which place a poor sequester'd stag,
That from the hunter's aim had ta'en a hurt,

Note b. — The scanning of the lines where the
name J agues appears differs so much that custom
has agreed to call this character Ja-quez much as
it calls our heroine Ros-a-lind (not ^^ Rosa-lined' '^,

AS YOU LIKE IT

Did come to languish; and indeed, my lord,
The wretched animal heav'd forth such groans
That their discharge did stretch his leathern coat
Almost to bursting, and the big round tears
Cours'd one another down his innocent nose
In piteous chase; and thus the hairy fool.
Much marked of the melancholy Jaques, (b)
Stood on the extremes t verge of the swift brook,
Augmenting it with tears.

Duke, S. But what said Jaques?
Did he not moralize this spectacle?

First Lord, O, yes, into a thousand similes.
First, for his weeping into the needless stream;
"Poor deer," quoth he, "thou mak'st a testa-
ment
As worldlings do, giving thy sum of more
To that which had too much'': then, being

there alone.
Left and abandon'd of his velvet friends,
" 'T is right:" quoth he, "thus misery doth part
The flux of company": anon a careless herd,
Full of pasture, jumps along by him
And never stays to greet him; "Ay," quoth

Jaques,
"Sweep on, you fat and greasy citizens;

^All laugh.

^Amiens generally speaks this line.

^Rises.

^They can go of singing the glee or part song
or to music.

^ After a slight pause music dying away.

Touchstone appears as if keeping watch, beck-
ons to Rosalind and Celia, who enter and lean on
Touchstone, Rosalind R, T CjC L. Touchstone
carries three good sized bundles L, varying col-
oured serges.

Note (a.) — The Folio says ^' merry ^\' it is
a much better reading, especially for Touchstone^ s
reply.

AS YOU LIKE IT

'T is just the fashion: wherefore do you look
Upon that poor and broken bankrupt there?"
Thus most invectively he pierceth through
The body of the country, city, court,
Yea, and of this our Hfe, swearing that we
Are mere usurpers, tyrants and what's worse,
To fright the animals and to kill them up
In their assign'd and native dwelling-place.-^

Duke S. And did you leave him in this
contemplation?

Sec. Lord, L.^ We did, my lord, weeping and
commenting
Upon the sobbing deer.

Duke S. R C.^ Show me the place:
I love to cope him in these sullen fits.
For then he's full of matter.

First Lord. I'll bring you to him straight.

[Exeunt up to C, then of R U.]^

Enter Rosalind as Ganymede,^ Celia as
Aliena, and Touchstone L.

Ros. 0 Jupiter, how merry are my spirits! (a)^
Touch. I care not for my spirits, if my legs

were not weary. {Drops bundles and helps

Celia to log L.)

Wrops on the ground L of log L,

^Goes behind tree L C

Note. — In entrances the person who is speaking
generally follows the person spoken to. I give you
a few general rules in stage business; they can of
course be varied or used at discretion: Let me
impress upon young actors to use very little gesture;
else when gesture action and expression are neces-
sary ^ they are ineffective. It is also unnecessary
to move often upon the stage; continual cross-
ing, sitting J rising, or fidgetting do not impress.

^Silvius is restless; Corin reasons with him.
They go to log or seats j down R,

SS'

AS YOU LIKE IT

Ros. I could find in my heart to disgrace
my man's apparel and to cry like a woman;
but I must comfort the weaker vessel, as doublet
and hose ought to show itself courageous to
petticoat: therefore courage, good Aliena!

CeL I pray you, bear with me; I cannot go
no further.

Touch, {crosses to L). For my part, I had
rather bear with you than bear you; yet I should
bear no cross if I did bear you, for I think you
have no money in your purse. [Celia carries the
purse on girdle,

Ros, Well, this is the forest of Arden.

(X to R.)

Touch, Ay, now am I in Arden; the more
fool I; when I was at home, I was in a better
place: but travellers must be content.

Ros. Ay, be so, good Touchstone.

Enter Corin^ and Silvius^ from R 2,
Look you, who comes here; a young man and
an old in solemn talk.^
Cor. That is the way to make her scorn you

stiU.3
Sil, 0 Corin, that thou knew'st how I dc
love her!

^Sits R, ; extreme R on log R.
^Sits on log.
^Rises,

^Coming from behind tree, going across a little
to C.

AS YOU LIKE IT

Cor. I partly guess ; for I have lov^d ere now.^

Sil, No, Corin, being old, thou can'st not
guess,^
But if thy love were ever like to mine —
As sure I think did never man love so —
How many actions most ridiculous
Hast thou been drawn to by thy fantasy?

Cor, Into a thousand that I have forgotten.

Sil. 0, thou didst then ne'er love so heartily!
If thou remember'st not the sHghtest folly
That ever love did make thee run into,
Thou hast not lov'd:
Or if thou hast not sat as I do now.
Wearying thy hearer in thy mistress' praise,
Thou hast not lov'd:
Or if thou hast not broke from company^
Abruptly, as my passion now makes me,
Thou hast not lov'd.

0 Phebe, Phebe, Phebe!

[Exit ofR I. Corin looks after him pityingly.
Ros.^ Alas, poor shepherd! searching of thy
wound,

1 have by hard adventure found mine own.
Jove, Jove ! this shepherd's passion

Is much upon my fashion.

^Still taking it easily; he is sleepy.

^Saluting (peasants are innately well mannered.)

AS YOU LIKE IT

Touch} And mine; but it grows something
stale with me.

Cel, I pray you, one of you question yond
man
If he for gold will give us any food:
I faint almost to death.

Touch, {kneels L). Holla, you clown!

Ros, C, Peace! Fool: he's not thy kinsman.

Cor. {returning to R), Who calls?

Touch. L. Your betters, sir.

Cor. R. Else are they very wretched.

Ros. C. Peace, I say. Good even to you,
friend.

Cor. R. And to you, gentle sir, and to you all.^

Ros. C. I prithee, shepherd, if that love or
gold
Can in this desert place buy entertainment,
Bring us where we may rest ourselves and feed:
Here 's a young maid with travel much oppress'd
And faints for succour.

Cor. Fair sir, I pity her

And wish, for her sake more than for mine own.
My fortunes were more able to relieve her;
But I am shepherd to another man
And do not shear the fleeces that I graze:

^Here the girls and Touchstone count the money
in Celiacs satchel.

^They Joyfully discover enough money to buy
the cottage.

^Touchstone stirs himself, begins to pack up.

^Goes up to C.

^Distant singing is heard and continues p.p.
whilst Touchstone collects the bundles and goes after
Corin. He piles them one by one on his back,
then remembers the Princesses, and goes to log
for Celia; she rises, sighs, leans on Touchstone.

Rosalind sighs and also leans on Touchstone,
for they love him very much; they all sigh joyfully
and stroll of to their new-found home. As they dis-
appear off R U, A miens sings louder and enters
up L 3, followed by the others and eventuoMy by
Jaques from up L.

AS YOU LIKE IT

My master is of churlish disposition
And little recks to find the way to heaven
By doing deeds of hospitality:
Besides, his cote, his flocks and bounds of feed
Are now on sale,^ and at our sheepcote now,
By reason of his absence, there is nothing
That you will feed on; but what is, come see,
And in my voice most welcome shall you be.

Ros. C. What is he that shall buy his flock
and pasture?

Cor. R. That young swain that you saw here
but erewhile,
That Httle cares for buying any thing.^

Ros. C. I pray thee, if it stand with honesty,
Buy thou the cottage, pasture and the flocks.
And thou shalt have to pay for it of us.

Cel. L C. And we will mend thy wages.
I like this place,
And wilHngly could waste my time in it.®

Cor. Assuredly the thing is to be sold:
Go with me^: if you like upon report
The soil, the profit, and this kind of life,
I will your very faithful feeder be
And buy it with your gold right suddenly.^

\JS,%cuni R.
65

^There are several settings to this song. It is
natural for Amiens to sing to his own lute.

^Amiens wanders down R. J agues comes on
LU.

^Sits on log L C.

AS YOU LIKE IT

Enter Amiens, Jaques, and others,

SONG^

Ami. Under the greenwood tree
Who loves to lie with me,
And turn his merry note
Unto the sweet bird's throat,
Come hither, come hither, come hither^:
Here shall he see
No enemy
But winter and rough weather.

Jaq. More, more, I prithee, more.

A mi. It will make you melancholy. Monsieur
Jaques.

Jaq, I thank it. More, I prithee, more. I
can suck melancholy out of a song, as a weasel
sucks eggs. More, I prithee, more.

Ami, My voice is ragged, I know I cannot
please you.

Jaq. I do not desire you to please me; I
do desire you to sing.^ Come, more; another
stanzo: call you ^em stanzos?

Ami. What you will. Monsieur Jaques.

Jaq. Nay, I care not for their names; they
owe me nothing. Will you sing?

Ami. More at your request than to please
myself.

^Jaques can show his musical taste by half
dozing during this chorus. It gives a pretty effect
for the chorus to be sung softer and softer; they see
him asleep and gradually gather round and shout
the last word in his ears, which wakes him up;
they all laugh.

"^Waking up.

^Jaques can either sing it very much off the hey,
or he can speak it in a somewhat mock ^^ elocu-
tionary^^ style. It is intended to be humorous.

AS YOU LIKE IT

Jaq. Well then, if ever I thank any man,
I'll thank you. Come, sing; and you that will
not, hold your tongues.

Ami. Well, I'll end the song. Sirs, cover
the while; the Duke will drink under this tree.
He hath been all this day to look you.

Jaq, And I have been all this day to avoid
him. He is too disputable for my company:
I think of as many matters as he, but I give
Heaven thanks and make no boast of them.
Come, warble, come.

Song

Who doth ambition shun

And loves to live i' th' sun,

Seeking the food he eats

And pleas'd with what he gets,
Come hither, come hither, come hither^:

Here shall he see

No enemy
But winter and rough weather. [All together here.

Jaq.'^ I'll give you a verse to this note that
I made yesterday in despite of my invention.
Ami. And I'll sing it.
Jaq. Thus it goes:^

If it do come to pass
That any man turn ass,

"^He beckons, they gather around, they all laugh
and disperse. He rises and goes of still half
asleep. They go of singing, laughing, or if
played with change of scene to prepare a repast.

Note. — Gallons of ink have been used upon the
character of Jaques. He is a delightful fellow,
posing as cynic. Whatever he may have been
at court, he is not a dandy now. As a mild sug-
gestion I would suggest he looks clean, but with
untidy clothes. If he lives nowadays, he will prob-
ably go to a dinner party or pose in the front row
of a playhouse, in a red necktie. No real cynic
would follow his master into exile, and probably
spend his last crown in his service.

In theatre a front landscape cloth. In open air
they come on after short pause.

'^ After slight pause. '^T^

^Hejust drops out of Orlando^ s arms from sheer
weariness.

^Kneels to him.

^Rises.

^Adam smiles.

'^Goes of a little to R,

AS YOU LIKE IT

Leaving his wealth and ease

A stubborn will to please,
Ducdame, ducdame, ducdame:

Here shall he see

Gross fools as he
An if he will come to me.

Ami, What's that "ducdame '7
Jaq. 'T is a Greek invocation/ to call fools
into a circle. I'll go sleep, if I can; if I cannot,
I'll rail against all the first-born of Egypt.

Ami. And I'll go seek the Duke: his banquet
is prepared. [Exeunt severally R and L.

Enter Orlando and Adam from L U or LP-

Adam. Dear master, I can go no further:
0, 1 die for food ! ^ Here He I down, and measure
out my grave. Farewell, kind master.

Orl. Why, how now, Adam! no greater
heart in thee?^ Live a Httle; comfort a Httle;
cheer thyself a little. For my sake be com-
fortable; hold death awhile at the arm's end;
I will here be with thee presently^; and if I
bring thee not something to eat, I will give thee
leave to die: but if thou diest before I come,
thou art a mocker of my labour.^ Well said! thou
look 'st cheer ly, and I'll be with thee quickly.^

V-

^Returns.

Hf possible Orlando should take Adam in his
arms like a little child and carry him of R.

Adam

In theatre all are discovered seated around a table
at R C. If open air they enter up R. Brown
bread, fruit, wine and light food on table. It is
lunch time.

This group can be regulated by numbers. The
Duke, the Lords, and Amiens would sit R C;
others around stage R and L.

^laques roars with laughter. Jaques can go
over to table and help serve Duke; or he can " pose^'
in the centre.

AS YOU LIKE IT

Yet thou liest in the bleak air^; come, I will
bear thee to some shelter; and thou shalt not die
for lack of a dinner, if there live anything in this
desert.^ Cheerly, good Adam! [Exeunt.

A table set out. Enter Duke senior, Amiens,
and Lords, like outlaws.

Duke S. I think he be transformed into a
beast;
For I can no where find him like a man.
First Lord. My lord, he is but even now gone
hence:
Here was he merry, hearing of a song.
Go, seek him: tell him I would speak with him.

Enter Jaques from up L.

First Lord. He saves my labour by his own

approach.
Duke S. Why, how now, monsieur! what a
life is this.
That your poor friends must woo your company?
What, you look merrily!

Jaq. C. A Fool, a Fool! I met a Fool i'
th' forest,
A motley Fool; — a miserable world!

^Ee secures an apple anyway , as his share of the
luncheon.
With apple,
^He still laughs.
^He takes the stage to right {or left).

AS YOU LIKE IT

As I do live by food, I met a Fool;

Who laid him down and bask'd him in the

sun,
And raird on Lady Fortune in good terms.
In good set terms, and yet a motley Fool.
''Good morrow, Fool," quoth I. "No, sir,"

quoth he
"Call me not fool till heaven hath sent me

fortune.^
And then he drew a dial from his poke.
And, looking on it with lack-lustre eye,
Says very wisely, "It is ten o'clock:
Thus we may see," quoth he, "how the world

wags:
'T is but an hour ago since it was nine.
And after one hour more 't will be eleven;
And so, from hour to hour, we ripe and ripe,^
And then, from hour to hour, we rot and rot;
And thereby hangs a tale." When I did hear
The motley Fool thus moral on the time,
My lungs began to crow Hke chanticleer,
That fools should be so deep-contemplative,
And I did laugh sans intermission^
An hour by his dial. O noble Fool!
A worthy Fool! Motley's the only wear."*

M general movement of defence among the
Foresters. Spears, swords, daggers, knives, should
he got ready; the Duke does not move,

^Jaques is getting hungry,

^Still seated.

AS YOU LIKE IT

Enter Orlando, with his sword drawn, from up L.

OrL Forbear, and eat no more.^
Jaq. R. Why, I have eat none yet.
OrL C. Nor shalt not, till necessity be serv'd.
Duke S. R C. Art thou thus bolden'd, man,
by thy distress.
Or else a rude despiser of good manners,
That in civihty thou seem'st so empty?
Orl. C, You touch'd my vein at first: the
thorny point
Of bare distress hath ta'en from me the show
Of smooth civility: yet am I inland bred
And know some nurture.^ But forbear, I say:
He dies that touches any of this fruit
Till I and my affairs are answered.
Duke S.^ R C. What would you have? Your
gentleness shall force
More than your force move us to gentleness.
Orl. I almost die for food; and let me have it.
Duke S. Sit down and feed, and welcome to

our table.
OrL Speak you so gently? Pardon me, I
pray you:
I thought that all things had been savage here;

^TMs speech makes a profound impression on
all.

^Duke here rises and invites Orlando to sit.

AS YOU LIKE IT

And therefore put I on the countenance

Of stern commandment. But whate'er you are

That in this desert inaccessible.

Under the shade of melancholy boughs,

Lose and neglect the creeping hours of time;

If ever you have look'd on better days,

If ever been where bells have knoll'd to church.

If ever sat at any good man's feast,

If ever from your eyelids wip'd a tear

And know what 't is to pity and be pitied,

Let gentleness my strong enforcement be:

In the which hope I blush, and hide my sword. ^

Duke S. True is it that we have seen better
days,
And have with holy bell been knoU'd to church.
And sat at good men's feasts, and wip'd our eyes
Of drops that sacred pity hath engender'd^:
And therefore sit you down in gentleness
And take upon command what help we have
That to your wanting may be minister'd.

Orl. C. Then but forbear your food a little
while.
Whiles, Hke a doe, I go to find my fawn
And give it food. There is an old poor man.
Who after me hath many a weary step

^Kisses Duke's hand.

^All are deeply concerned.

^He goes of joyfully R, slight pause, whilst
the people go up quietly to look after Orlando.
Jaques goes from L then gets down right.

^Jaques can either remain seated by the Duke
at the table, or he can quite as well go over to the
log L C, and gradually enters into his speech. For
pity^s sake don't use much action; the acts explain
themselves.

Note. — It is important that in a scene like
this all on the stage should appear interested. All
drop any idea of eating and help the general effect.
But no individual shotdd appear aggressive. The
Duke gives the keynote.

AS YOU LIKE IT

Limp'd in pure love: till he be first sufficed,
Oppress'd with two weak evils, age and hunger,
I will not touch a bit.

Duke SRC. Go find him out,
And we will nothing waste till you return.

Orl. I thank ye,^ and be blest for your good
comfort?^ [Exit.^

Duke S. Thou seest we are not all alone
unhappy;
This wide and universal theatre
Presents more woeful pageants than the scene
Wherein we play in.

Jaq.^ All the world's a stage
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts,
His acts being seven ages. At first the infant.
Mewling and puking in the nurse's arms.
And then the whining school-boy, with his

satchel
And shining morning face, creeping like snail
Unwillingly to school. And then the lover.
Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier
Full of strange oaths and bearded Hke the pard,

'^Please donH emphasize "/j^."

^Slight pause. ^^7^

Then Adam and Orlando come on from up L.
The men take Adam and lead him round in front
of Duke and table, to a seat R of table marked X.
The Duke takes Orlando, sits with him at the
upper side R C, Orlando nearest to audience,
probably with his back to it.

Hs led to table down R.

I
I

AS YOU LIKE IT

Jealous in honour, sudden and quick in quarrel,

Seeking the bubble reputation

Even in the cannon's mouth. And then the

justice
In fair round belly with good capon lin'd.
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part.^ The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side,
His youthful hose, well sav'd, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans every
thing.2 ^T^
Re-enter Orlando with Adam, from L U,

Duke S, Welcome. (Rises.) Set down your
venerable burthen,
And let him feed.

OrL R C, I thank you most for him.

Adam. So had you need:
I scarce can speak to thank you for myself.^

^Amiens stands near Duke and sings,
N. B. — Avoid being '^ operatic'' I
This song has a jolly chorus; all sing,
^They rise and come down, Duke C, Orlando
L C.

.ji

AS YOU LIKE IT

Duke S, Welcome; fall to: I will not trouble
you
As yet, to question you about your fortunes.
Give us some music; and good cousin, sing.^

Song

Ami Blow, blow, thou winter wind,
Thou art not so unkind
As man's ingratitude;
Thy tooth is not so keen,
Because thou art not seen,
Although thy breath be rude.
Heigh-ho! sing, heigh-ho! unto the green holly:
Most friendship is feigning, most loving mere folly:
Then, heigh-ho, the holly!
This life is most jolly.

Freeze, freeze, thou bitter sky,
That dost not bite so nigh

As benefits forgot:
Though thou the waters warp,
Thy sting is not so sharp

As friend remember'd not
Heigh-ho! sing, etc.

Duke S.^ If that you were the good Sir
Rowland's son,
As you have whisper'd faithfully you were,
Be truly welcome hither: I am the Duke

'^Orlando surprised, kneels.

^Adam also tries to kneel.

^ First Lord takes Adam. They go of up L.
If a curtain falls, a picture is formed. Jaques
is still asleep.

{An Interval or end of Act.)

Note. — There may be a short interval or pause
in either theatre or open air. It is an advantage
to play these forest scenes rather rapidly; the action
is quick. If in theatre the lights should be a little
checked as if it was very early morning, six o^ clock
possibly. In Shakespeare^ s day we awoke earlier
and slept earlier.

Orlando can be discovered if in the theatre lying
on the logLC, finishing his verse. He then hangs
it on the trees.

Note. — Music of a^^ Pastoral ' ' nature,

^The moon.

^A slight pause before the she. {In the Folio
she is spelt with two ^'ee^s.^'I)

^Touchstone goes across to C; he evidently knows
all about these love affairs and he sees Orlando
disappearing.

'^He goes to log R and sits.

86'

AS YOU LIKE IT

That lov'd your father^ : the residue of your for-
tune,
Go to my cave and tell me. Good old man,
Thou art right welcome as thy master is.^
Support him by the arm. Give me your hand,
And let me all your fortunes understand. [Exeunt. ^ -n-

Enter Orlando, with a paper.

Orl. Hang there, my verse, in witness of

my love:
And thou, thrice-crowned queen of night,^
survey
With thy chaste eye, from thy pale sphere above.
Thy huntress' name that my full life doth
sway.
O Rosalind! these trees shall be my books,

And in their barks my thoughts I'll character;
That every eye which in this forest looks

Shall see thy virtue witness 'd every where.
Run, run, Orlando; carve on every tree
The fair, the chaste and unexpressive^ she. [Exit.

Enter Corin (2) and Touchstone (i) up L^

Cor? And how like you this shepherd's life,
Master Touchstone?

^Touchstone lies on the green sward R C.

AS YOU LIKE IT

Touch. C. Truly, shepherd, in respect of it-
self, it is a good life; but in respect that it is a
shepherd's Hfe, it is naught. Now, in respect it
is in the fields, it pleaseth me well; but in respect
it is not in the court, it is tedious. Hast^ any
philosophy in thee, shepherd?

Cor. R. No more but that I know the more
one sickens the worse at ease he is; and that he
that wants money, means and content is with-
out three good friends; that the property of
rain is to wet and fire to burn; that good pasture
makes fat sheep, and that a great cause of
the night is lack of the sun; that he that hath
learned no wit by nature nor art may complain
of good breeding or comes of a very dull
kindred.

Touch. Such a one is a natural philosopher.
Wast ever in court, shepherd?

Cor. No, truly.

Touch. Then thou art damn'd.

Cor. Nay, I hope.

Touch. Truly, thou art damned, like an ill-
roasted egg all on one side.

Cor. For not being at court? Your reason.

Touch. Why, if thou never wast at court,

"^This beautiful speech can he spoken in full.

Note — The pronunciation of this name must he
left to individual discretion. Dr.H.H.Furness,
our greatest living authority, approves of ^^Rozza-
lind^^ from English custom, although the verse
rather inclines toward Rosa-lined.

^Rosalind should enter with one or two papers.
The sonnets hang on the trees as thick as herries.

Note. — In this couplet the rhymes are equal.

Ind rhymes with lind.

Wind rhymes with lined.

Linde, lin^d or limned with lind.

Mind rhymes with lined.
So that the play of words is upon the last syllable.

^Coming forward with one of the sonnets which
he steals from one of the trees unseen by Rosalind.

AS YOU LIKE IT

thou never saw'st good manners; if thou never
saw'st good manners, then thy manners must
be wicked; and wickedness is sin, and sin is
damnation. Thou art in a parlous state, shep-
herd.

Cor.^ Sir, I am a true labourer: I earn that I
eat, get that I wear, owe no man hate, envy no
man's happiness. Here comes young Master
Ganymede, my new mistress's brother. (They
rise and go behind tree R.)

Enter Rosalind^ from L Z7, with a paper, reading.

Ros. From the east to western Ind,
No jewel is like Rosalind.
Her worth, being mounted on the wind,
Through all the world bears Rosalind,
All the pictures fairest lin'd
Are but black to Rosalind.
Let no fair be kept in mind
But the fair of Rosalind.

Touch} I'll rhyme you so eight years to-
gether, dinners and suppers and sleeping-hours
excepted: it is the right butter- women's rank
to market.

Ros. Out, Fool!

^Comes down C. Rosalind gets behind tree
L C. Touchstone is R C with Covin.

Note. — In this couplet only one line. Kind
rhymes with lind, so that we have little to guide
us except custom, which if only for sweetness of
sound is sometimes adopted.

AS YOU LIKE IT

Touch, For a taste :
If a hart do lack a hind,
Let him seek out Rosalind.
If the cat will after kind,
So be sure will Rosalind.
Sweetest nut hath sourest rind,
Such a nut is Rosalind.
This is the very false gallop of verses: why do
you infect yourself with them?

Ros. C. Peace, you dull Fool! I found them
on a tree.

Touch. R C. Truly, the tree yields bad fruit.

Enter Celia, with a writings from up L,

Ros. Peace i
Here comes my sister, reading; stand aside.

Cel.^ [Reads.] Why should this a desert be?

For it is unpeopled? No;
Tongues I'll hang on every tree,

That shall civil saying show:
But upon the fairest boughs,

Or at every sentence end,
Will I Rosalinda write,

Teaching all that read to know
The quintessence of every sprite

Heaven would in little show.

^She gives a significant sigh,

^Rosalind covers Celiacs eyeSy then they both
laugh. Touchstone comes to R C as if to join in
the family conference.

^Touchstone motions Corin to go of.

^Touchstone realizes he has to go. So he makes
a virtue of necessity ^ hut he flourishes the sonnet
as he goes off dancing, with the old shepherd.

AS YOU LIKE IT

Helen's cheek, but not her heart,

Cleopatra's majesty,
Atalanta's better part,

Sad Lucretia's modesty.
Thus Rosalind^ of many parts

By heavenly synod was devis'd,
Of many faces, eyes and hearts,

To have the touches dearest priz'd.
Heaven would that she these gifts should have,
And I to live and die her slave.

Ros.^ O most gentle Jupiter! what tedious
homily of love have you wearied your parishion-
ers withal, and never cri'd, Have patience, good
people !

Cel. How now! back, friends! Shepherd,
go off a little.* Go with him, sirrah.

Touch. Come, shepherd,^ let us make an
honourable retreat, though not with bag an
baggage, yet with scrip and scrippage.

[Exeunt Covin and Touchstone R j.

Cel. R C. Didst thou hear these verses?

Ros. L C. O, yes, I heard them all, and more
too; for look here what I found on a palm tree.

Cel. Trow you who hath done this?

Ros. Is it man?

Cel. And a chain, that you once wore, about
his neck. Change you colour?

^Getting impatient.
^Catching hold of Celia.
^Crossing to R C.
^Crossing to L C.
^Coaxing her.

AS YOU LIKE IT

Ros. I prithee, who?

Cel. O Lord, Lord! it is a hard matter for
friends to meet; but mountains may be remov'd
with earthquakes and so encounter.

Ros} Nay, but who is it?

Cel. Is it possible?

Ros, Nay, I prithee now with most peti-
tionary vehemence,^ tell me who it is.

Cel.^ O wonderful, wonderful, and most
wonderful wonderful! and yet again wonderful,
and after that, out of all whooping!

Ros. Good, my complexion!^ Dost thou
think, though I am caparision'd like a man, I
have a doublet and hose in my disposition?^
Is he of God's making? What manner of man?
Is his head worth a hat, or his chin worth a
beard?

Cel. R. Nay, he hath but a little beard.

Ros. L. Why, God will send more, if the
man will be thankful : let me stay the growth of
his beard, if thou delay me not the knowledge
of his chin.

Cel. R C. It is young Orlando, that tripp'd
up the wrestler's heels and your heart both in
an instant.

"^This business must he very carefully done.
Rosalind tends her knees and quietly tries to
pull her short skirt over her legs. Then the girls
laugh.

^As quick as it is possible to speak.

^Gasping.

^Crosses to L C, pointing to tree R,

^Crosses to R C.

AS YOU LIKE IT

Ros. L C. Nay, but the Devil take mocking:
speak, sad brow and true maid.

Cel. T faith, coz, 't is he.

Ros. Orlando?

CeL Orlando.

Ros} Alas the day! what shall I do with
my doublet and hose? What did he when thou
saw'st him?2 What said he?^ How look'd he?^
Wherein went he? What makes he here?^ Did
he ask for me?^ Where remains he?^ How
parted he with thee?^ and when shalt thou see
him again?^ Answer me in one word.

Cel} You must borrow me Gargantua's mouth
first: 't is a word too great for any mouth of this
age's size.

Ros. R C. But doth he know that I am in
this forest and in man's apparel? Looks he as
freshly as he did the day he wrestled?

Cel. L C. It is as easy to count atomies- as
to resolve the propositions of a lover; but take
a taste of my finding him, and relish it with
good observance.* I found him under a tree,
Hke a dropp'd acron.

Ros. It may well be called Jove's tree, when
it drops forth such fruit.^

^Curtseying apologetically,

^Catching hold of Celia sweetly.

^Kissing her, Orlando and Jaques talking out-
side.

^The girls go up, Rosalind putting Celia'' s skirt
in front of her knees.

Rosalind and Celia watch this scene from behind
trees or hushes up R.

lOO

AS YOU LIKE IT

Cel.^ Give me audience, good madam.

Ros. R C. Proceed.

Cel, L C. There lay he, stretched along, like
a wounded knight.

Ros. R. Though it be pity to see such a
sight, it well becomes the ground.

CeL L. He was furnished like a hunter.

Ros, 0, ominous! he comes to kill my heart.

Cel. R C. I would sing my song without a
burden: thou bring'st me out of tune.

Ros.^ Do you not know I am a woman?
when I think, I must speak.^ Sweet, say on.

CeL You bring me out. Soft! comes he not
here?

Enter Orlando (2) and ]aqves(i) from L.

Ros. 'T is he: slink by, and note him."*

Jaq. I thank you for your company; but
good faith, I had as lief have been myself alone.

OrL L. And so had I; but yet, for fashion
sake, I thank you too for your society.

Jaq. R. God b' wi' you; let's meet as little
as we can.

Orl. L. I do desire we may be better
strangers.

lOI

^Orlando is carving Rosalind on a piece of a
branch in his hands.

^Jaques peeps at the carving.

^Ee sits R.

^Puts branch on his heart and sighs. Rosalind
smiles from behind tree.

I02

AS YOU LIKE IT

Jaq. C. I pray you, mar no more trees
with writing love-songs in their barks.

Orl} I pray you, mar no more of my verses
with reading them ill-favouredly.

Jaq.^ RosaHnd is your love's name?

Orl. Yes, just.

Jaq.^ I do not like her name.

OrL There was no thought of pleasing you
when she was christen'd.

Jaq. What stature is she of?

Orl.^ Just as high as my heart.

Jaq. R. You are full of pretty answers. Will
you sit down with me? and we two will rail
against our mistress the world and all our
misery.

Orl. C. I will chide no breather in the world
but myself, against whom I know most faults.

Jaq. R. The worst fault you have is to be
in love.

OrL 'T is a fault I will not change for your
best virtue. I am weary of you.

Jaq. By my troth, I was seeking for a fool
when I found you.

Orl. He is drown'd in the brook: look but in,
and you shall see him.

103

^Rises,

^As Jaques goes off Orlando laughs and goes off
L.
Wp R.

^Comes down, then takes fright.
^Forester should he said loudly.
^A slight hut only momentary start from Orlando.

104

AS YOU LIKE IT

Jaq. R. There I shall see mine own figure.

Orl. Which I take to be either a fool or a
cipher.

Jaq} I'll tarry no longer with you : farewell,
good Signior Love.

Orl. I am glad of your departure;^ adieu,
good Monsieur Melancholy. {Exit J agues R i,

Ros.^ [Aside to Celia.] I will speak to him
like a saucy lackey and under that habit play
the knave with him."* Do you hear, forester?^

Orl.^ Very well: what would you? (return-
ing L.)

Ros, I pray you, what is 't o'clock?

Orl. You should ask me what time o' day:
there 's no clock in the forest.

Ros. Then there is no true lover in the forest;
else sighing every minute and groaning every
hour would detect the lazy foot of Time as well
as a clock.

Orl. L. And why not the swift foot of Time?
had not that been as proper?

Ros. C. By no means, sir; Time travels in di-
vers paces with divers persons. I'll tell you who
Time ambles withal, who Time trots withal, who
Time gallops withal and who he stands still withal.

^Sits on log L C; Celia gathers wild flowers
up R,

^Pronounced "senniteJ^

^Rosalind takes the stage to R during these
speeches.

^Creeping up to him.

^Celia comes down from R U; Orlando raises
cap, Celia R C, Ros. C, Orlando L,

io6

AS YOU LIKE IT

Orl.^ I prithee, who doth he trot withal?

Ros. Marry, he trots hard with a young maid
between the contract of her marriage and the
day it is solemniz'd; if the interim be but a
se'nnight,^ Time's pace is so hard that it seems
the length of seven year.

OrL Who ambles Time withal?

Ros.^ With a priest that lacks Latin and a
rich man that hath not the gout, for the one
sleeps easily because he cannot study, and the
other lives merrily because he feels no pain.

OrL Who doth he gallop withal?

Ros.^ With a thief to the gallows; for though
he go as softly as foot can fall, he thinks himself
too soon there.

OrL Who stays it still withal?

Ros. With lawyers in the vacation; for they
sleep between term and term, and then they
perceived not how Time move§.

OrL C. Where dwell you, pretty youth?

Ros. C. With this shepherdess, my sister^;
here in the skirts of the forest, Uke fringe upon
a petticoat.

OrL L. Your accent is something finer than
you could purchase in so remov'd a dwelling.

107

^Rosalind, sitting, is puzzled what to say. Celia
whispers to tell her she had an uncle once who
possibly was a Bishop.

^Taking stage R; Celia, laughing at the fun, goes
quickly of for bluebells.

^She also peeps at wood which Orlando carves
at interval.

io8

AS YOU LIKE IT

Ros. C. I have been told so of many^:
but indeed an old religious uncle of mine taught
me to speak, who was in his youth an inland
man; one that knew courtship too well, for there
he fell in love. I have heard him read many
lectures against it, and I thank God I am not a
woman,^ to be touch' d with so many giddy
offences as he hath generally tax'd their whole
sex withal.

Orl. Can you remember any of the principal
evils laid to the charge of women?

Ros. C. There were none principal; they were
all like one another as half-pence are, every one
fault seeming monstrous till his fellow-fault
came to match it.

Orl. I prithee, recount some of them.

Ros. C. No, I will not cast away my physic
but on those that are sick. There is a man
haunts the forest, that abuses our young plants
with carving Rosalind^ on their barks; hangs
odes upon hawthorns and elegies on brambles,
all, forsooth, deifying the name of Rosalind:
if I could meet that fancy-monger, I would give
him some good counsel, for he seems to have the
quotidian of love upon him.

109

^Rises, rather interested; otherwise Orlando treats
Rosalind very casually. He thinks he is a rather
^' fresh' ^ youth.

^Rosalind looks him up and down,

^Goes very close to see the beginnings of heard,

^Looks him well over,

^Takes stage R,

AS YOU LIKE IT

Orl.^ I am he that is so love-shak'd : I pray
you, tell me your remedy.

Ros.^ There is none of my uncle's marks
upon you: he taught me how to know a man in
love; in which cage of rushes I am sure you are
not prisoner.

Orl. What were his marks?

Ros. C, A lean cheek, which you have not;
a blue eye and sunken, which you have not;
an unquestionable spirit, which you have not^;
a beard neglected, which you have not; but I
pardon you for that, for simply your having
in beard is a younger brother's revenue^: then
your hose should be ungarter'd, your bonnet
unhanded, your sleeve unbutton'd, your shoe
unti'd and every thing about you demonstrating
a careless desolation; but you are no such man;
you are rather point-device in your accoutre-
ments, as loving yourself than seeming the
lover of any other.

Orl, L C Fair youth, I would I could make
thee believe I love.

Ros. C. Me believe it! you may as soon make
her that you love believe it^; which I warrant
she is apter to do than to confess she does: that

III

^Coming again.

^Crosses to R C.

^Big sigh; but of concealed joy. It attracts Or-
lando^ s attention. The speech is given very freely
by Rosalind.

^Softening.

^She gets rather close to him, as if having a
big boy^s joke. All this scene is done with more
action and gesture than all the rest of the part put
together.

112

AS YOU LIKE IT

is one of the points in the which women still
give the lie to their consciences.^ But, in good
sooth, are you he that hangs the verses on the
trees, wherein Rosalind is so admired?

Orl. LCI swear to thee, youth, by the
white hand of Rosalind, I am that he, that un-
fortunate he.

Ros. C. But are you so much in love as your
rhymes speak?

Orl. L C. Neither rhyme nor reason can ex-
press how much.^

Ros.^ C. Love is merely a madness, and, I
tell you, deserves as well a dark house and a
whip as madmen do; and the reason why they
are not so punish'd and cured is, that the lunacy
is so ordinary that the whippers are in love too.^
Yet I profess curing it by counsel.

Orl. Did you ever cure any so?

Ros. C. Yes, one; and in this manner.^
He was to imagine me his love, his mistress; and
I set him every day to woo me: at which time
would I, being but a moonish youth, be effemi-
nate, changeable, longing and Hking, proud,
fantastical, apish, shallow, inconstant, full of
tears, full of smiles, for every passion something

^Orlando goes to him — then,

^Then runs away.

^Big sigh of depreciation from Orlando. Ifs
too much for him.

^At ^'heart^^ Ganymede claps his hands.

^Looks at him, then shakes head; Celia returns
up R.

^Hesitating, then making up his mind.

''Celia goes off i?3. Holds out left hand, Or-
lando puts his right hand into it with a bang.

^Rosalind coaxingly puts Orlando^ s arm round
her waist. Orlando repeats ^^ Rosalind.''* He
affirms it with Rosalind, and they go off laughing.

114

AS YOU LIKE IT

and for no passion truly any thing, as boys and
women are for the most part cattle of this colour;
would now like him, now loathe him; then enter-
tain him, then forswear him^; how weep for him^;
then spit at him; that I drave my suitor from his
mad humour of love to a living humour of mad-
ness; which was, to forswear the full stream of
the world and to Hve in a nook merely monastic.^
And thus I cur'd him; and this way will I take
upon me to wash your liver as clean as a sound
sheep's heart,^ that there shall not be one spot
of love in 't,

Orl} LCI would not be cured, youth.

Ros. C. I would cure you, if you would but
call me Rosalind, and come every day to my
cote and woo me.

Orl.^ L C. Now, by the faith of my love,
I will: tell me where it is.

Ros, Go with me to it and I'll show it you:
will you go sister?^ and by the way you shall
tell me where in the forest you live. Will
you go?^

Orl. With all my heart, good youth.

Ros. Nay, you must call me Rosalind.
Come, sister, will you go? [Exeunt,

IIS

^They dance on to C.

^Audrey here munches an apple.

^ After each of her speeches Audrey tries to
munch the apple; each time Touchstone puts up
Hiz palm of his hand between to prevent her,

^Here they struggle for the apple which Touch-
stone secures. Places in pouch.

Ji6

AS YOU LIKE IT

Enter Touchstone and Audrey from L2 or-^}

Touch. R C. Come apace, good Audrey:
I will fetch up your goats, Audrey. And how,
Audrey? am I the man yet? doth my simple
feature content you?

Aud. L C. Your features! Lord warrant
us! what features?

Touch. R C. 1 am here with thee and thy
goats, as the most capricious poet, honest Ovid,
was among the Goths.^ Truly, I would the
gods had made thee poetical.

Aud. L C. I do not know what poetical is:
is it honest in deed and word? is it a true thing ?^

Touch. No, truly; for the truest poetry is
the most feigning; and lovers are given to
poetry, and what they swear in poetry may be
said as lovers they do feign.

Aud. Do you wish then that the gods had
made me poetical?

Touch. I do, truly; for thou swear'st to me
thou art honest: now, if thou wert a poet, I
might have some hope thou didst feign.

Aud. Would you not have me honest?

Touch. No, truly,^ unless thou wert hard-

117

'^Note {a). — The word ^^sluV^ in English is
merely a person who is not fond of soap and water
— Shakespeare so meant it — Audrey should not
he at all a dirty-looking person. She should he
attractive hut very rustic. Let her munch an apple
or hread; — hut not a turnip.

^Audrey jumps with joy.

^She executes a war dance around the Clown;
eventually, at his forhidding finger, drops penitent
onto the log L C.

^They sing and dance off up L.

Note. — The scene with Martext can he easily
given, Jaques also appearing, hut there is no
value in it and we have got so Jar on in our play
that it is unnecessary to introduce such char-
acters however humorous they may he.

ii8

AS YOU LIKE IT

favoured; for honesty coupled to beauty is to
have honey a sauce to sugar.

Aud. Well, I am not fair; and therefore I
pray the gods make me honest.

Touch. Truly, and to cast away honesty
upon a foul slut^ were to put good meat into
an unclean dish. (She turns away.)

But, be it as it may be, I will marry thee,^ and
to that end I have been with Sir Oliver Martext,
the vicai of the next village, who hath promis'd to
meet me in this place of the forest and to couple us.
[' Aud.^ Well, the gods give us joy!

Touch. Amen. A man may, if he were of a
fearful heart, stagger in this attempt; for here
we have no temple but the wood, no assembly
but horn-beasts. But what though? Courage!
No: as a wall'd town is more worthier than a vil-
lage, so is the forehead of a married man more
honourable than the bare brow of a bachelor:

Come, sweet Audrey *

O sweet Oliver,

O brave Oliver,
Leave me not behind thee:

Wind away.

Begone, I say,
I will not to wedding with thee.

[Exeunt Touchstone and Audrey,

^Rosalind paces up and down L to R, Celia
bantering her,
^Laughingly,

I20

AS YOU LIKE IT

Re-enter Rosalind^ and Celia from R U,

Ros. L. Never talk to me; I will weep.

Cel. L C, Do, I prithee; but yet have the
grace to consider that tears do not become a man.

Ros, R C. But have I not cause to weep?

Cel. As good cause as one would desire;
therefore weep.

Ros. C, But why did he swear he would
come this morning, and comes not?

Cel. L C. Nay, certainly, there is no truth
in him.

Ros. C. Not true in love?

Cel, Yes, when he is in; but I think he is
not in. [Crosses to R.

Ros. You have heard him swear downright
he was. He attends here in the forest on the
Duke your father.

Ros.^ C. I met the Duke yesterday and had
much question with him: he ask'd me of what
parentage I was; I told him, of as good as he;
so he laugh'd and let me go. But what talk
we of fathers, when there is such a man as
Orlando?

Cel. R. 0, that's a brave man! he writes
brave verses, speaks brave words, swears brave

121

^Looking off up L,

Note, — Covings little scene is not necessary,
^Phebe crosses to R; Silmus follows; Rosalind
and Celia go up R and watch,
^Silvius drops down to L C.
^There is too much of Fhebe.

122

AS YOU LIKE IT

oaths and breaks them bravely. Who comes
here?^
Enter Silvius (2) and Phebe (i)^ up L.

Sil, L C. Sweet Phebe, do not scorn me;

do not, Phebe;
Say that you love me not, but say not so
In bitterness. (The common executioner,
Whose heart th' accustom'd sight of death makes

hard,
Falls not the axe upon the humbled neck
But first begs pardon :) will you sterner be
Than he that dies and lives by bloody drops?

Rosalind, Celia, watch behind.

Phe, R C, 1 would not be thy executioner:
I fly thee, for I would not injure thee.^
Thou tell'st me there is murder in mine eye:
Now I do frown on thee with all my heart;
And if mine eyes can wound, now let them kill
thee:^

SiL (Crosses to L C.) 0 dear Phebe,
If ever — as that ever may be near —
You meet in some fresh cheek the power of fancy,
Then shall you know the wounds invisible
That love's keen arrows make.

123

^She takes hold of Phehe and swings her round
into Silvius's arms; then runs up C,

124

AS YOU LIKE IT

Phe. R C. But till that time

Come not thou near me: and when that time

comes,
Afflict me with thy mocks, pity me not;
As till that time I shall not pity thee.
Ros. C, {Coming forward.) And why, I pray

you? Who might be your mother,
That you insult, exult, and all at once,
Over the wretched? What! though you have

no beauty —
As, by my faith, I see no more in you
Than without candle may go dark to bed —
Must you be therefore proud and pitiless?
Why, what means this? 'Od's my httle life,
I think she means to tangle my eyes too!
No, faith, proud mistress, hope not after it:
But, mistress, know yourself: down on your

knees,
And thank Heaven, fasting, for a good man's

love:
For I must tell you friendly in your ear.
Sell when you can: you are not for all markets:
Cry the man mercy: love him; take his offer :
Foul is most foul, being foul to be a scoffer.
So take her to thee, shepherd^: fare you well.

125

^Phebe breaks away and follows Rosalind.
^Fiercely.

^Celia goes up to R. Rosalind goes down to
Silvius at L,

^Goes back to C, then stops and looks at Phebe,
^Slight pause, looking after Rosalind.

126

AS YOU LIKE IT

Phe} Sweet youth, I pray you, chide a
year together:
I had rather hear you chide than this man
woo.
Ros.^ C, I pray you, do not fall in love with
me.
For I am falser than vows made in wine :
Besides, I like you not. If you will know my

house,
'T is at the tuft of olives here hard by.
Will you go, sister?^ Shepherd, ply her hard.
Come, sister.^ Shepherdess, look on him better.
And be not proud : though all the world could see,
None could be so abus'd in sight as he.
Come, to our flock.

[Exeunt Rosalind, Celia, up R.
Phe} Dead shepherd, now I find thy saw of
might,
^' Who ever lov'd that lov'd not at first sight? "
Sil. Sweet Phebe, —
Phe. {Sits log R C). Ha, what say'st thou,

Silvius?
Sil. R C. Sweet Phebe, pity me.
Phe. Thou hast my love: is not that neigh-
bourly?

127

^Standing over her.

^As if she had been listening.

^Poor Silvius is disappointed again.

^Phebe sits all the time.

^Rises.

128

AS YOU LIKE IT

Sil. I would have you.

Fhe. Why, that were covetousness.
Silvius, the time was that I hated thee,
And yet it is not that I bear thee love;
But since that thou canst talk of love so well,
Thy company, which erst was irksome to me,
I will endure, and I'll employ thee too :
But do not look for further recompense
Than thine own gladness that thou art em-
ployed.

Sil.^ R C. So holy and so perfect is my love,
And I, in such a poverty of grace,
That I shall think it a most plenteous crop
To glean the broken ears after the man
That the main harvest reaps : loose now and then
A scatter'd smile, and that I'll live upon.

Fhe,^ Know'st thou the youth that spoke to
me erewhile?

Sil.^ Not very well, but I have met him oft;

Phe.^ Think not I love him, though I ask for
him;
I love him not nor hate him not; and yet
I have more cause to hate him than to love him:
For what had he to do to chide at me?
I marvel why I answer'd not again^:

129

^Coaxingly.

^So gladly; to do any small or great service.

^She crosses up L.

^Puts out her hand, he gladly takes it, they go of.

In theatre this scene ends Act j. In open air
the scenes are continuous except for a short musical
piece of two or three minutes for resting the audi-
ence. The audience want an occasional break as
well as the actors, for they often suffer long and
are long-suffering!

^Rosalind comes on first, looks around and is
very annoyed. After a few moments she sits on
log R, then Orlando comes on, taking it easily.

130

AS YOU LIKE IT

I'll write to him a very taunting letter,

And thou shalt bear it^: wilt thou, Silvius?
SiL L C. Phebe, with all my heart. ^
Phe. I'll write it straight;

The matter 's in my head and in my heart^;

I will be bitter with him and passing short.

Go with me, Silvius.^ [Exeunt L.

Enter Rosalind^ from R, and Orlando from L,

Orl. L C. Good day and happiness, dear
Rosalind !

Ros. R C. Why, how now, Orlando! where
have you been all this while? You a lover!
An you serve me such another trick, never come
in my sight more.

Orl. My fair Rosalind, I come within an hour
of my promise.

Ros, Break an hour's promise in love! He
that will divide a minute into a thousand parts
and break but a part of the thousandth part of
a minute in the affairs of love, it may be said of
him that Cupid hath clapped him o' th' shoulder,
but I'll warrant him heart-whole.

Orl. Pardon me, dear Rosalind.

Ros. Nay, an you be so tardy, come no

^Crosses to tree L C,

^He goes to her.

^Bumps down on log L C.

132

AS YOU LIKE IT

more in my sight: I had as lief be woo^d of
a snail.

OrL Of a snail?

Ros, Ay, of a snail; for though he comes
slowly, he carries his house on his head.

Ros.^ Come, woo me, woo me, for now I am
in a holiday humour and Hke enough to consent.^
What would you say to me now, an I were your
very, very Rosalind?

Orl. R C. I would kiss before I spoke.

Ros. L C. Nay, you were better speak first,
and when you were gravelled for lack of matter,
you might take occasion to kiss.

OrL How if the kiss be denied?

Ros. Then she puts you to entreaty, and
there begins new matter.

OrL Who could be out, being before his
beloved mistress?

Ros. Am not I your Rosalind?

OrL I take some joy to say you are, because
I would be talking of her.

Ros. Well, in her person I say I will not have
you. [Crosses to RC]

OrL (Crosses to L C.) Then in mine own
person I die.^

133

(Matter in parentheses may he omitted.)
^Taking stage R.
^Crosses to C R,
^Crosses to C L.

134

AS YOU LIKE IT

Ros. No, faith, die by attorney. The poor
world is almost six thousand years old, and in
all this time there was not any man died in his
own person, videlicet, in a love-cause. (Troilus
had his brains dash'd out with a Grecian club;
yet he did what he could to die before, and he
is one of the patterns of love. Leander, he
would have liv'd many a fair year, though Hero
had turn'd nun, if it had not been for a hot
midsummer night; for, good youth, he went but
forth to wash him in the Hellespont and being
taken with the cramp was drown'd: and the
fooKsh coroners of that age found it was "Hero
of Sestos." But these are all lies:) men have
died from time to time and worms have eaten
them, but not for love.^

Orl. I would not have my right Rosalind of
this mind, for, I protest, her frown might kill me.

Ros. By this hand, it will not kill a fly.^
But come, now I will be your Rosalind in a more
coming-on disposition, and ask me what you will,
I will grant it.

OrL^ Then love me, Rosalind.

Ros, Yes, faith, will I, Fridays and Saturdays
and all.

13s

^Clapping both hands on his shoulders.

^Taking stage R.

^Celia comes down C, Rosalind puts Celiacs
hood on her. Rosalind R C, Celia C, Orlando L C.

^This should be chanted — even intoned.

^Chanting in fun.

^Spoken.

"^Spoken.

^Rosalind kisses Celia.

^Celia swings hands; then sighs; Orlando sighs;
Celia leaves their hands; they still swing; then
Orlando discovers what he is doing; thinks it
foolish, drops hand; and all laugh. Rosalind goes
Rj Celia up C, Orlando L.

136

AS YOU LIKE IT

Orl. And wilt thou have me? (Kneels.)

Ros.^ Ay, and twenty such.

Orl. What say est thou? (Rises quickly.)

Ros. Are you not good?

OrL I hope so.

Enter Celia up R.

Ros. Why then, can one desire too much of
a good thing? ^ Come, sister, you shall be the
priest and marry us.^ Give me your hand,
Orlando. What do you say, sister?

Orl. L C. Pray thee, marry us.

Cel. C. I cannot say the words.

Ros. R C. You must begin. Will you, Or-
lando

Cel. Go to.^ Will you, Orlando, have to wife
this RosaKnd?

Orl. I will.^

Ros. Ay, but when?

Orl. Why now; as fast as she can marry us.

Ros. Then you must say,^ I take thee, Rosa-
lind, for wife.

Orl.'^ I take thee, Rosalind, for wife.

Ros.^ I might ask you for your commission;
but I do take thee, Orlando, for my husband.^

137

Note. — Stage ^^ business ^^ is action, sometimes
during a speech, sometimes in silence. The swing-
ing of the hands at the mock marriage is called
business.

'^Laughs loudly.

^Trumpet or horns heard in distance of up L,

138

AS YOU LIKE IT

Ros. L. Now tell me how long you would
have her after you have possess'd her.

OrL L. For ever and a day.

Ros, {crosses to C). Say "a day," without
the "ever.'^ No, no, Orlando; men are April
when they woo, December when they wed:
maids are May when they are maids, but the
sky changes when they are wives. I will be more
jealous of thee than a Barbary cock-pigeon over
his hen, more clamorous than a parrot against
rain, more new-fangled than an ape, more giddy
in my desires than a monkey: I will weep for
nothing, Hke Diana in the fountain, and I will
do that when you are dispos'd to be merry; I
will laugh Hke a hyen,^ and that when thou art
inclin'd to sleep.

OrL R. But will my Rosalind do so?

Ros. C. By my Hfe, she will do as I do.

OrL 0, but she is wise.

Ros. Or else she could not have the wit to
do this: the wiser, the wayivarder: make the
doors upon a woman's wit and it will out at the
casement; shut that and 't will out at the key-
hole; stop that, 't will fly with the smoke out
at the chimney. {Crosses to R.Y

139

Wistant horns or singing is still heard ojff up L,

^Sits on log R.

^Weeps. He goes and takes hands from eyes;
she laughs.

^Horns nearer or singing.

^She beckons and he comes over. She signals for
him to kiss her hand. He laughingly does so.

Horns sound very near up L, or singing louder.

^As Orlando exits Rosalind kisses hack of her
hand.

"^Goes of up R.

^Gives a big yawn and drops down under tree
L C to sleep.

If in theatre a landscape of forest cloth same as
Scene 2, Act 2, is used, or the same scene can be
used all through with perhaps a variation in the
lighting, all scenes being full daylight till the faint-
ing scene when there should be a sunset effect.

140

AS YOU LIKE IT

Orl. For these two hours RosaKnd, I will
leave thee.

Ros. (weeping). Alas! dear love, I cannot
lack thee two hours.

Orl. I must attend the Duke at dinner: by
two o'clock I will be with thee again.'^

Ros. Ay, go your ways, go your ways;^ that
flattering tongue of yours won me.^ Two
o'clock is your hour?

Orl. Ay, sweet Rosalind. (Crosses up to L.y

Ros. If you break one jot of your promise
or come one minute behind your hour, I will
think you the most pathetical break-promise
and the most hollow lover and the most un-
worthy of her you call Rosalind that may be
chosen out of the gross band of the unfaithful.

Orl. With no less religion than if thou wert in-
deed my Rosalind^ ; so adieu ! [Exit Orlando upL.^

Cel. You have simply misus'd our sex in
your love-prate:

Ros. O coz, coz, coz, my pretty little coz,
that thou didst know how many fathom deep
I am in love! I'll tell thee, Aliena, I cannot
be out of the sight of Orlando: I'll go find a
shadow and sigh till he come.^

Cel. And I'll sleep.^ [Exeunt.

141

'^They are heard singing as scene changes.
They come on in irregular procession, sometimes
carrying a dead deer.

^This song should he sung either to one of the
old catches or to Arne's setting.

^At end they march of singing.

This scene should he given if possihle, as it
makes a pleasant "interlude.'^

Note. — In Knighfs "Shakespeare^s^' is given the
quaintest music to the Forester^ s song. It is taken
from a work entitled " Catch that Catch Can; or a
Choice Collection of Catches, Rounds, etc., collected
and published hy John Hilton.''^ Hilton was of
Shakespeare^ s time, and whether or not this air was
actually sung when ^^ As You Like It '' was given,
the music is contemporaneous with the play. It
is a round written for four basses.

142

AS YOU LIKE IT

Scene II.
Enter Jaques, Lords, and Foresters, from R 1}

Jaq, C. Which is he that killed the deer?

A Lord. L C. Sir, it was I.

Jaq. C. Let's present him to the Duke,
like a Roman conqueror; and it would do well
to set the deer's horns upon his head, for a branch
of victory. Have you no song, forester, for
this purpose?

For. Yes, sir.

Jaq. Sing it: 't is no matter how it be in
tune, so it make noise enough.

SONG.2

For. What shall he have that kill the deer?

His leather skin and homs to wear.
Take thou no scorn to wear the horn:
It was a crest ere thou wast born.

Thy father's father wore it,

And thy father bore it:

The horn, the horn, the lusty horn
Is not a thing to laugh to scorn.

Then sing
him home;
the rest
shall bear
this bur-
then.

> Burthen
Exeunt.*

143

At end of song Rosalind comes from R, seeks
for Celia, and finds her asleep behind tree L. She
wakes her J they laugh, and Silvius comes on.

^Celia looks over letter, she is R, Celia R, Rosa-
lind C, Silvius L,

144

AS YOU LIKE IT

Enter Silvius, from L.

Sil. L C. My errand is to you, fair youth;
My gentle Phebe bid me give you this:
It bears an angry tenour: pardon me;
I am but as a guiltless messenger.

Ros. C. Patience herself would startle at
this letter^
And play the swaggerer;
Well, shepherd, well,
This is a letter of your own device.

Sil. No, I protest, I know not the contents :
Phebe did write it.

Ros. Why, 't is a boisterous and a cruel style,
A style for challengers. Will you hear the letter?

Sil. L C. So please you, for I never heard
it yet;
Yet heard too much of Phebe's cruelty.

Ros. C. She Phebes me: mark how the tyrant
writes. [Reads,

Art thou god to shepherd tum'd,
That a maiden's heart hath bum'd?

Can a woman rail thus?
Sil. Call you this railing?

145

^Gives him letter. Looks at him; he stands
dejected.
^Celia Rf Oliver C, Rosalind L.

146

AS YOU LIKE IT
Ros. (Reads.)

Why, thy godhead laid apart,
Warr'st thou with a woman's heart?

Did you ever hear such railing? (To Celia)

Whiles the eye of man did woo me,
That could do no vengeance to me.

Meaning me a beast.

Sil. L C. Call you this chiding?

Cel. R C, Alas, poor shepherd!

Ros. C. Do you pity him? no, he deserves
no pity,
Wilt thou love such a woman? ^ Well, go
your way to her, for I see love hath made
thee a tame snake, and say this to her: that if
she love me, I charge her to love thee; if she will
not, I will never have her unless thou entreat for
her. If you be a true lover, hence, and not a
word; for here comes more company. (X to L.)

[Exit SilviuSj L /.

Enter Oliver, from up L.^

OIL Good morrow, fair ones: pray you, if
you know.
Where in the purlieus of this forest stands
A sheepcote fenc'd about with olive trees?

147

^A little overcome.

^This is one of the most difficult speeches in
Shakespeare. It is almost impossible to condense.
It must therefore he left to the studenfs discretion.

148

AS YOU LIKE IT

Cel. R. West of this place, down in the neigh-
bour bottom:
But at this hour the house doth keep itself;
There's none within.

Oli. If that an eye may profit by a tongue,
Then should I know you by description;
Such garments and such years:

Are not you
The owner of the house I did inquire for?
Cel. It is no boast, being ask'd, to say we are.
Oli. Orlando doth commend him to you both.
And to that youth he calls his Rosalind
He sends this bloody napkin. Are you he?
Ros. I am^: what must we understand by

this?
Oli. Some of my shame; if you will know
of me
What man I am, and how, and why, and where
This handkercher was stain'd.
Cel. (Still R to R C.) I pray you, tell it.
Oli.'^ When last the young Orlando parted
from you
He left a promise to return again
Within an hour; and pacing through the forest.
Chewing the food of sweet and bitter fancy,

149

AS YOU LIKE IT

Lo, what befel! He threw his eye aside
And mark what object did present itself:
Under an oak, whose boughs were moss'd with age
And high top bald with dry antiquity,
A wretched ragged man overgrown with hair,
Lay sleeping on his back; about his neck
A green and gilded snake had wreath'd itself,
Who, with her head nimble in threats, ap-

proach'd
The opening of his mouth; but suddenly,
Seeing Orlando, it unHnk'd itself.
And with indented ghdes did slip away
Into a bush: under which bush's shade
A lioness, with udders all drawn dry,
Lay crouching, head on ground, with catlike

watch.
When that the sleeping man should stir; for 't is
The royal disposition of that beast
To prey on nothing that doth seem as dead:
This seen, Orlando did approach the man
And found it was his brother, his elder brother.
Cel. O, I have heard him speak of that same

brother;
And he did render him the most unnatural
That liv'd amongst men.

151

^Horrified crosses to Rosalind.
'^Rosalind horrified^ crosses to Celia, they meet
RC.

^Rosalind is by now much affected,
^Lights get lower.

IS2

AS YOU LIKE IT

on. And well he might so do,
For well I know he was unnatural.

Ros, But, to Orlando: did he leave him
there.
Food to the suck'd and hungry lioness?

OH. Twice did he turn his back and pur-
posed so;
But kindness, nobler ever than revenge,
And nature, stronger than his just occasion.
Made him give battle to the lioness,
Who quickly fell before him: in which hurtling
From miserable slumber I awaked. (Crosses
to L)

Cel} Are you his brother?

Ros} Was 't you he rescued?

Cel. Was 't you that did so oft contrive to
kill him?

on. 'T was I: but 't is not I: I do not shame
To tell you what I was, since my conversion
So sweetly tastes, being the thing I am.

Ros, But, for the bloody napkin?^

on. By and by.^
(When from the first to last betwixt us two
Tears our recountments had most kindly bath'd,
As how I came into that desert place — )

IS3

^Celia R C, Rosalind C, Oliver L C.

1 54

AS YOU LIKE IT

In brief, he led me to the gentle Duke,

Who gave me fresh array and entertainment.

Committing me unto my brother's love;

Who led me instantly unto his cave,

There stripp'd himself, and here upon his arm

The Koness had torn some flesh away,

Which all this while had bled; and now he

fainted
And cried, in fainting, upon Rosalind.
Brief, I recover'd him, bound up his wound;
And, after some small space, being strong at

heart.
He sent me hither, stranger as I am.
To tell this story, that you might excuse
His broken promise, and to give this napkin
Dyed in his blood unto the shepherd youth
That he in sport doth call his Rosalind.

[Rosalind swoons^
Cel. Why, how now, Ganymede ! sweet Gany-
mede !
OH, Many will swoon when they do look

on blood.
Cel. There is more in it. Cousin Ganymede!
on. Look, he recovers.
Ros. I would I were at home.

15s

^Oliver takes Ganymede^s left army supporting
him, Celia on R.

^With faint smile.

^Lights lower,

^Very faintly.

^Hitting her on shoulder. She lurches forward
on to their arms.

^They move up stage a little.

'^She gives a lurch and falls round into Oliver^ s
left arm. They gently let her down on to the
ground.

In theatre this scene ends Act 4. In open
air Rosalind is supported {perhaps carried of,
between Oliver and Celia).

Soft music, ^' pastoral,^' can be played. The
lights are lowered half, with a reddish-amber glow.

Three minutes interval or less.

156

AS YOU LIKE IT

Cel. We'll lead you thither.

I pray you, will you take him by the
arm? ^

Oli. Be of good cheer, youth; you a man!
you lack a man's heart.

Ros} I do so, I confess it. Ah, sirrah, a body
would think this was well counterfeited! I
pray you, tell your brother how well I counter-
feited. Heigh-ho!

Oli. This was not counterfeit: there is too
great testimony in your complexion that it was
a passion of earnest.^

Ros} C. Counterfeit, I assure you.

Oli. Well then, take a good heart and coun-
terfeit to be a man.^

Ros. So I do : but, i' faith, I should have been
a woman by right.

Cel. Come, you look paler and paler: pray
you, draw homewards. Good sir, go with
us.^

Oli. That will I, for I must bear answer back.
How you excuse my brother, Rosalind.

Ros. I shall devise something: but I pray
you, commend my counterfeiting to him. Will
you go?^ [Exeunt.

IS7

This scene is transposed to give Rosalind and
Celia time to change costume,

^Or they can he discovered seated on log L C.

^Oliver rises.

^She conies down.

^Laughing.

^Slight pause; fears Oliver suspects her sex!

158

AS YOU LIKE IT

Scene (same). The forest.
Enter Orlando and Oliver^ from L,

Orl. Is 't possible that on so little acquaint-
ance you should like her? that but seeing, you
should love her? and loving woo?

Oli, Neither call the giddiness of it in ques-
tion, but say with me, I love Aliena; say with
her that she loves me; for my father's house and
all the revenue that was old Sir Rowland's will
I estate upon you and here live and die a shep-
herd.

Orl. Let your wedding be to-morrow; thither
will I invite the Duke and all 's contented fol-
lowers. Go you and prepare Aliena; for look
you, here comes my RosaHnd.

Enter Rosalind^ up R}

Ros. God save you, brother.

OH. And you, fair sister. (Goes up C.) [Exit.^

Ros.^ 0, my dear Orlando, how it grieves
me to see thee wear thy heart in a scarf!

Orl. (sitting L). It is my arm.

Ros. C. I thought thy heart had been
wounded with the claws of a lion.

159

^Trying to change the subject,

^Rises and crosses to R. He sits on log R.

^Orlando sighs and puts hand on heart.

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AS YOU LIKE IT

Orl. L C, Wounded it is, but with the eyes
of a lady.

Ros} C. Did your brother tell you how I
counterfeited to swoon when he show'd me your
handkercher?

OrL L C. Ay, and greater wonders than
that.

Ros. C. O, I know where you are ; for your
brother and my sister no sooner met but they
look'd, no sooner look'd but they lov'd, no sooner
lov'd but they sigh'd, no sooner sigh'd but they
ask'd one another the reason, no sooner knew the
reason but they sought the remedy;

Orl. They shall be married to-morrow, and
I will bid the Duke to the nuptial. But, O,
how bitter a thing it is to look into happiness
through another man's eyes.

Ros, Why then, to-morrow I cannot serve
your turn for Rosalind?

Orl.'^ I can live no longer by thinking.

Ros. I will weary you then no longer with
idle talking. I have since I was three year old
convers'd with a magician, most profound in
his art and yet not damnable. If you do love
RosaKnd^ so near the heart as your gesture cries

i6i

^Rises excitedly.

^Orlando i?, Rosalind C, Phebe L C, Silvius L.

Note. — This quartette scene must be played with
intensity and animation.

^Looking at Phebe.

"^Looking yearningly at Ganymede.

^ Phebe moves toward Ganymede; he waves her
of. This business is repeated each time.

162

AS YOU LIKE IT

it out, when your brother marries Aliena, shall
you marry her.

Orl.^ Speak'st thou in sober meanings?

Ros. By my life, I do; which I tender dearly,
Therefore, bid your friends; for if you will be
married to-morrow, you shall, and to Rosalind, if
you will.

Enter Silvius and Phebe from L?

Look, here comes a lover of mine and a lover of
hers.
Phe. L C, Youth, you have done me much
ungentleness,
To show the letter that I writ to you.

Ros. C. I care not if I have: it is my study
To seem despiteful and ungentle to you:
You are there followed by a faithful shepherd;
Look upon him, love him; he worships you.
Fhe. L C. Good shepherd, tell this youth

what 't is to love.
Sil. L. It is to be all made of sighs and tears;
And so am I for Phebe.^
Phe. L C. And I for — Ganymede.*
Orl. And I for Rosalind.
Ros. And I for^ — no woman.

163

^Emphasize this "all"
^Stopping her ears.
^Going down L to him.
^Remains between Silvius and Phebe,
^Crosses to Orlando j who is R,

164

AS YOU LIKE IT

Sil. It is to be all made of faith and service;
And so am I for Phebe.

Phe, And I for — Ganymede.

Orl, And I for Rosalind.

Ros, And I for — no woman.

SiL It is to be all made of fantasy,
All made of passion and all made of wishes,
All adoration, duty, and observance.
All humbleness, all patience, and impatience,
All purity, all trial, all^ observance;
And so am I for Phebe.

Phe. And so am I for — Ganymede.

OrL And so am I for Rosalind.

Ros, And so am I for — no woman.

Ros,^ Pray you, no more of this; 't is Hke
the howling of Irish wolves against the moon.
[To Sil.^] I wiU help you, if I can: [To Phe}]
I would love you, if I could. To-morrow meet
me all together. [To Phe.] I will marry you,
if ever I marry woman, and I'll be married to-
morrow:^ [To OrL] I will satisfy you, if ever
I satisfied man, and you shall be married to-
morrow: [To Sil.] I will content you, if what
pleases you contents you, and you shall be
married to-morrow. [To OrL] As you love

i6s

^Running up to C up R.

^Goes off L I.

^Goes off up L.

^Goes off RI,

If an open air built stage or an Elizabethan
stage, both of which can only have two exits, one
R and one L upper stage, with a possible third C.
These quick exits must be manipulated accordingly.

i66

AS YOU LIKE IT

Rosalind, meet: [To Sil.] as you love Phebe,
meet^: and as I love — no woman, I'll meet.
So fare you well: I have left you commands.

Sil. I'U not fail, if I Hve.^

Fhe. Nor I.^

Orl. Nor I.* [Exeunt in all directions.

167

ACT III.

Scene II. The forest,

Ew/e/' Touchstone and Ajjd^^y from L i.

Touch. R C. We shall find a time, Audrey;
patience, gentle Audrey.

A^ld, L C. Faith, the priest was good
enough, for all the old gentleman's saying.

Touch. RCA most wicked Sir Oliver,
Audrey, a most vile Martext. But, Audrey,
there is a youth here in the forest lays claim
to you.

Aud. L C. Ay, I know who 't is: he hath
no interest in me in the world: here comes the
man you mean.

Touch. R C. It is meat and drink to m^e to
see a clown: by my troth, we that have good wits
have much to answer for; we shall be flouting;
we cannot hold.

169

In theatre, landscape cloth if desired.

^William bobs and takes of hat.

^Audrey bobs.

^Touchstone bobs.

^Puts hat on William's head each time.

^He generally has very red hair. Touchstone
doesn't like his red head; but William wishes to
be polite.

^He gives hand, Touchstone reads his palm.
Audrey giggling also reads hers.

170

AS YOU LIKE IT

Enter William, from R I or R U,

Will. R. Good even, Audrey. {Bobbing)^

Aud. L. God ye good even, William.^ {Bobs.)

Will. R. And good even to you, sir.

Touch. C, Good even, gentle friend.^ (Bob-
bing.) Cover thy head, cover thy head; nay,
prithee, be cover'd. How old are you, friend?

Will. Five — and twenty, sir. (Takes of hat)

Touch. A ripe age.^ Is thy name William?

Will. WilKam, sir.

Touch.^ A fair name. Wast born i* th'
forest here?

Will. Ay, sir, I thank God.

Touch. "Thank God"; a good answer. Art
rich?

Will. Faith, sir, so so.

Touch. *'So so" is good, very good, very
excellent good; and yet it is not- it is but so so.
Art thou wise?

Will. Ay, sir, I have a pretty wit.

Touch. Why, thou say^st well. You do
love this maid?

Will. I do sir.

Touch. Give me your hand.^ Art thou
learned?

171

Wrops hand, becomes very fierce.

^He drives William around stage, pointing his
bauble at each movement. Audrey follows around,
imitating Touchstone. They go round once, fin-
ishing at R C as they go off. William returns,
making tremendous strides and following them.
Here may follow the Pages scene and the duet.
It is pretty, but delays action.

172

AS YOU LIKE IT

Will No, sir.

Touch. Then learn this of me: to have, is
to have; for all your writers do consent that
ipse is he : now, you are not ipse^ for I am he

Will. Which he, sir?

Touch.^ He, sir, that must marry this woman.
Therefore, you clown, abandon,^ which is in
the vulgar leave, — the society, — which in the
boorish is company, — of this female, — which in
the common is woman; which together is, aban-
don the society of this female, or, clown, thou
perishest; or, to thy better understanding, diest.
I will kill thee a hundred and fifty ways: there-
fore tremble, and depart.

Aud. Do, good William.

Will. God rest you merry, sir. {Runs of
R.) [Exit.

Touch. Trip, Audrey! trip, Audrey. (To-
morrow is the joyful day, Audrey: to-morrow
will we be married.)

Aud. I do desire it with all my heart.
Here comes two of the banish'd Duke's pages.

Enter two Pages from R.

First Page. RC. Well met, honest gentleman.

173

In theatre this would he the forest drop.

Note. — Original MS. of this song is in the
Library of Mr. Marsden Perry at Providence,
R. I. There are imitations.

^They all sit on ground. Pages R C, Touch-
stone and Audrey L C.

^Chorus each time.

174

AS YOU LIKE IT

Touch, C By my troth, well met. Come,
sit, sit, and a song.^

Sec. Page. R. We are for you: sit i' th'
middle.

First Page, Shall we clap into 't roundly, with-
out hawking or spitting or saying we are hoarse,
which are the only prologues to a bad voice ?

Sec. Page. T faith, i' faith; and both in a
tune, Hke two gipsies on a horse.

SONG^

First Boy. It was a lover and his lass,

With a hey, and a ho, and a hey nonino,

That o'er the green cornfield did pass

In the spring time, the only pretty ring time,

When birds do sing, hey ding-a-ding, ding:
Sweet lovers love the spring.

Second Boy. Between the acres of the rye,

With a hey, and a' ho, and a hey nonino.
These pretty country folks would lie,
In the spring time, etc.

First Boy. This carol they began that hour,

With a hey, and a ho, and a hey nonino,
How that a life was but a flower
In spring time, etc.

Second Boy. And therefore take the present time.

With a hey, and a ho, and a hey nonino;
For love is crowned with the prime
In spring time, etc.

17s

^All get up.

^The hoys laugh and sing of to R the refrain,
^'Hey ding-a-ding'' and dancing. {Then Touch-
stone and Audrey do the same singing and dancing
offL.)

^Theatre all discovered on. Open air. All enter
from R and L.

^Orlando is left of Duke

Oliver Orlando

Siivia9

176

AS YOU LIKE IT

Touch} Truly, young gentlemen, though
there was no great matter in the ditty, yet the
note was very untimeable.

First Page. You are deceived, sir: we kept
time, we lost not our time.

Touch, By my troth, yes; I count it but time

lost to hear such a foolish song. God b' wi^

you; and God mend your voices!^ Come,

Audrey. [Exeunt.

Scene IV.^ The forest.

Enter Duke senior, C; Amiens, Jaques, up R:
Orlando L C, Oliver Z, Silvius, and Phebe
come on L

Duke S. C. Dost thou believe, Orlando,
that the boy
Can do all this that he hath promised?

^ L. 1 sometimes do beHeve, and some-
times do not;
As those that fear they hope, and know they fear.
Duke S. I do remember in this shepherd boy
Some lively touches of my daughter's favour.
Orl. My lord, the first time that I ever saw
him
Me thought he was a brother to your daughter.

177

^Touchstone and Audrey are heard of L U.

^Comes down C to R.

^Coming down C to L.

^Audrey is very awkwardly dressed in a lady-
jester^ s costume. She attracts the attention of Duke
and others.

178

AS YOU LIKE IT

But, my good lord, this boy is forest-born,
And hath been tutor'd in the rudiments
Of many desperate studies by his uncle,
Whom he reports to be a great magician,
Obscured in the circle of this forest.^

Enter Touchstone and Audrey.

Jaq.^ There is, sure, another flood toward,
and these couples are coming to the ark. Here
comes a pair of very strange beasts, which in
all tongues are called fools.

Touch.^ Salutation and greeting to you
all!

Jaq. R C. Good my lord, bid him welcome:
this is the motley-minded gentleman that I have
so often met in the forest; he hath been a cour-
tier, he swears.

Touch. C. If any man doubt that, let him
put me to my purgation.

Jaq. Good my lord, like this fellow.

Duke S. I Hke him very well.

Touch. God 'ield you, sir; I desire you the
like.'* A poor virgin, sir, an ill-favoured thing,
sir, but mine own; a poor humour of mine, sir,
to take that that no man else will: rich honesty

179

^Audrey gets into various positions.
^Ptits Audrey on log L, then goes C,

j8o

AS YOU LIKE IT

dwells in a poor house; as your pearl in your
foul oyster.

Duke S. By my faith, he is very swift and
sententious.

Touch. According to the fool's bolt, sir, and
such dulcet diseases : — bear your body more
seeming, Audrey.^ {Aside to her.)

Jaq. But, for the seventh cause; how did
you find the quarrel on the seventh cause?

Touch. Upon a lie seven times removed:
— bear your body more seeming, Audrey^: —
as thus, sir. I did dislike the cut of a certain
courtier's beard: he sent me word, if I said his
beard was not cut well, he was in the mind it
was: this is call'd the Retort Courteous. If I
sent him word again ^4t was not well cut," he
would send me word, he cut it to please himself;
this is call'd the Quip Modest. If again ^4t was
not well cut," he disabled my judgment: this is
called the Reply ChurKsh. If again *'it was not
well cut," he would answer, I spake not true:
this is call'd the Reproof Valiant. If again ''it
was not well cut," he would say, I Ked: this is
called the Countercheck Quarrelsome: and so
to the Lie Circumstantial and the Lie Direct.

i8i

^They all laugh, with free action suiting the
words.

Note. — These speeches of Touchstone can he
omitted and it is rather advisable to do so, or our
play is apt to get long, especially in the open air.
If retained, they must he delivered rapidly, pre-
cisely and with a good free action.

182

AS YOU LIKE IT

Jaq. R C. And how oft did you say his
beard was not well cut?

Touch. C I durst go no further than the Lie
Circumstantial, nor he durst not give me the
Lie Direct; and so we measur'd swords and —
parted.^

Jaq. Can you nominate in order now the
degrees of the lie?

Touch. O sir, we quarrel in print, by the
book; as you have books for good manners. I
will name you the degrees. The first, the
Retort Courteous; the second, the Quip Modest;
the third, the Reply Churlish; the fourth, the
Reproof Valiant; the fifth, the Countercheck
Quarrelsome; the sixth, the Lie with Circum-
stance; the seventh, the Lie Direct. All these
you may avoid but the Lie Direct; and you may
avoid that too, with an If. I knew when seven
justices could not take up a quarrel, but when
the parties were met themselves, one of them
thought but of an If, as "If you said so, then
I said so;'' and they shook hands and swore
brothers. Your If is the only peacemaker;
much virtue in If. (Goes over to Audrey
at L)

183

Note. — If the masque of Hymen is introduced
it should he simple hut picturesque) no elaborate
dresses to he used, hut rough and coarse garments
made as daintily as possihle. There should he
music. Hymen is represented as a youth hold-
ing a torch, in ^^clasic^^ costume of white with a
hay or hlossom wreath.

184

AS YOU LIKE IT

Jaq. R C. Is not this a rare fellow, my lord?
he's as good at any thing and yet a Fool.

Duke S. He uses his folly Kke a stalking-
horse and under the presentation of that he
shoots his wit.

Enter Hymen, Rosalind, and Cellv.
Still Music.

Hym. Then is there mirth in heaven,
When earthly things made even

Atone together.
Good Duke, receive thy daughter:
Hjonen from heaven brought her,
Yea, brought her hither,
That thou mightst join her hand with his
Whose heart within his bosom is.

Ros, {To Duke). To you I give myself for
I am yours.
(To Orl.) To you I give myself for I am yours.
Duke S. If there be truth in sight, you are

my daughter.
Orl. If there be truth in sight, you are my

RosaKnd.
Phe. If sight and shape be true,
Why then, my love, adieu!
Ros. I '11 have no father, if you be not he :

185

^Celia comes down C as she goes up, Oliver
goes to her from R.

^On horseback if possible.

^A general movement.

^Be careful that the young man who plays this
part can speak well, and learn the speech thor-
oughly. It is one of the pitfalls of the stage.

i86

AS YOU LIKE IT

I '11 have no husband, if you be not he:
Nor ne'er wed woman, if you be not she.
Duke S. C. O my dear niece, ^ welcome thou
art to me!
Even daughter, welcome, in no less degree.

Enter Jaques de Boys.^

Jaq. de B. Let me have audience for a
word or two^ :
I am the second son of old Sir Rowland,
That bring these tidings to this fair assembly.
Duke Frederick, hearing how that every day
Men of great worth resorted to this forest.
Addressed a mighty power; which were on foot.
In his own conduct, purposely to take
His brother here and put him to the sword:
And to the skirts of this wild wood he came;
Where meeting with an old religious man.
After some question with him, was converted
Both from his enterprise and from the world.
His crown bequeathing to his banish'd brother.
And all their lands restor'd to them again
That were with him exiled. This is to be true,
I do engage my life. {Kneels to Duke.Y

Duke S. Welcome, young man;

187

^Hymen^s speech here if "Masque^^ given.
^Jaques down R. Orlando and Rosalind go
up a little R C to Celia and Oliver.
If desirable introduce the Masque.

i88

AS YOU LIKE IT

Thou offer'st fairly to thy brother's wedding;
To one his lands withheld, and to the other
A land itself at large, a potent dukedom.

(X to L)

Enter Rosalind with Hymen^

Duke S. First, in this forest let us do those
ends
That here were well begun and well begot:
And after, every of this happy number
That have endur'd shrewd days and nights

with us
Shall share the good of our returned fortune,
According to the measure of their states.
Meanwhile, forget this new-fall'n dignity
And fall into our rustic revelry.
Play, music! And you, brides and bridegrooms

all,
With measure heap'd in joy, to th' measures fall.
Jaq. R,^ Sir, by your patience — If I heard
you rightly {to Jaques De Boys),
The Duke hath put on a religious Hfe
And thrown into neglect the pompous court?

Jaq de B, R C, He hath. (Jaques crosses
to R of Duke.)

189

^Crosses to Duke, who is L C.

^These lines of Jaques can be omitted if the play
has become too long.

^A dance can be given here — or after the speak-
ing of the Epilogue. If a theatre the curtain can
fall. If in open air a dance and chorus can fol-
low^ or the song. ^^It is as a Lover " can be used.
If Hymen is introduced the ending should be
classical; Hymen leading of Rosalind, Orlando,
Celia, and Oliver with his train. Then the Duke
would follow with his ^^ Merry Men,^^ the rear
made up of Touchstone, Audrey, Silvius, Phebe,
William and other rustics.

290

AS YOU LIKE IT

Jaq} To him will I: out of these convertites

There is much matter to be heard and

learn'd.^

[To Duke] You to your former honour I

bequeath;

Your patience and your virtue well deserves it:

[To Orl] You to a love that your true faith

doth merit:
[To OH.] You to your land and love and

great allies:
[To SiL] You to a long and well deserved bed :
[To Touch.] And you to wrangling; for thy
loving voyage
Is but two months victuall'd.
So, to your pleasures (^oing up C):
I am for other than for dancing measures.
Duke S, L C, Stay, Jaques, stay.
Jaq. To see no pastime I: what you would
have
I'll stay to know at your abandon'd cave.

[Exit R U.
Duke S. Proceed, proceed: we will begin
these rites,
As we do trust they'll end, in true delights.

[A dance.^

IQI

Amiens

J deBoja

Position of Characters at Epilogue

Note. The dance can he given after the epilogue,
if desirable. It is quite picturesque to dance to
the singing instead of to modern instruments

192

AS YOU LIKE IT

EPILOGUE spoken by Rosalind,

Ros, If it be true that good wine needs no
bush, 't is true that a good play needs no epi-
logue; yet to good wine they do use good bushes,
and good plays prove the better by the help of
good epilogues. What a case am I in then,
that am neither a good epilogue nor cannot
insinuate with you in the behalf of a good play !
I am not furnished Hke a beggar, therefore to
beg will not decome me: my way is to conjure
you; and I'll begin with the women. I charge
you, O women, for the love you bear to men,
to Hke as much of this play as please you: and
I charge you, 0 men, for the love you bear
to women — as I perceive by your simpering,
none of you hates them — that between you
and the women the play may please. If I
were a woman I would kiss as many of you as
had beards that pleas'd me, complexions that
lik'd me: and, I am sure, as many as have good
beards or good faces will, for my kind offer,
when I make curtsy, bid me farewell.

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